#cannot believe this man has produced some of my favorite albums of all time

[lobotomyladylives]

why would he say goated. you're a 40 something man not a 15 yr old boy cut that shit out or I'll have to put you down like a dog

#this is abt Jack antonoff saying rep is goated and while that is technically true i cannot fucking stand the way he said it. perish #i can see why Taylor is such good friends with him theyre both so embarrassing #except shes embarrassing in an endearing cutie pie way and hes embarrassing in an artsy man wearing glasses way. evil #cannot believe this man has produced some of my favorite albums of all time

[katyldamusic]

Måneskin: No one should feel exluded (interview for onet.pl)

Please forgive me any mistakes. It’s 2 am.

"Our image is a form of expression. We stand behind everyone who gets hurt. People shouldn't judge anyone because they can hurt someone a lot," say the members of the Måneskin. The group recently won the Eurovision Song Contest and will now perform at the Polsat Sopot SuperHit Festival. "We want people to understand our message being "no one should feel excluded," they add.

-Måneskin won the 65th Eurovision Song Contest in Rotterdam with the song "Zitti E Buoni"

-The group's sound is defined by musical eclecticism - from rock through rap, hip hop, reggae to funk and pop. All of this is linked by Damiano's phenomenal voice

-"We can be very proud of ourselves, because we owe our success to hard work" - say young musicians who came to Poland, where they will perform during the Sopot SuperHit Festival

Q: Congratulations on your big success at Eurovision. Were you surprised or the rumors that you are the favorites calmed you down a bit?

Victoria: We were nervous until the last second. Until the end, we did not believe that we could win. We are not a typical band that can take first place in this competition.

Damiano: Ethan's face said everything (laughs).

Ethan: Exactly. No one should have doubts that the win surprised us (laughs).

Q:After the competition, it was huge buzz about a glass that you broke. Has this "scandal" stopped shocking your fans?

Damiano: I hope so! We didn't understand at all why everyone was so surprised that we broke a glass (laughs). In fact, we were well aware that rumors like this always set the biggest fire. It's just part of our popularity.

Q: How did your friends react when you told them you wanted to participate in Eurovision? This is quite an unusual idea for a rock and roll band.

Victoria: We never took the Eurovision Song Contest lightly. We did not even think that our style did not fit there. For us, the most important message was that rock and roll never died. For two years we have been constantly trying to prove to everyone that guitar sounds are timeless

Many people threw obstacles at our feet and told us that we had no chance to be successful. We went to Rotterdam and showed them that we are capable of anything!

Q: So plan to conquer Eurovision was well thought out?

Victoria: Of course! That is why we performed at the San Remo festival. It was the beginning of our evil plan (laughs). Later we went to Eurovision and proved that even at such a mainstream concert rock'and'roll will be the top! I guess we did pretty well.

Q: But you probably did not expect such popularity. There are huge crowd in front of the building where we are talking. On TikTok, your music breaks records of popularity. Are you ready to conquer the world?

Damiano: I don't want to seem very cocky(*tricky to translate, "cocky" or not very modest"), but we've always dreamed about it. Of course, we did not care about fame, but we wanted our music to reach the widest audience possible. We really did everything to get to this place. We can be very proud of ourselves because we owe our success to hard work.

Q: Meetings with fans must be very enjoyable experience.

Damiano: It's really crazy. We love our fans and hope that there will be more of them over time.

Q: Many countries in Europe are very conservative. Your image may still shock many. What would you say to your *?(*tricky again. literall translation - opponents, but i think "people who are against you" fits better)

Damiano: First of all, I would like to emphasize that we do not feel like people who would dictate anything to someone. Image is a form of our expression. Of course, we stand behind everyone who gets hurt. People should not judge anyone because they can do great harm to others. We will not change the world overnight. However, as people whose music reaches so many people, we know that we can change reality a litlle bit.

Victoria: We want people to understand our message is, that no one should feel left out.  Our image has no boundaries - which is why it may still shock some more conservative audiences. Let's be honest - how is a man with painted nails different from a woman?

Q: Måneskin performing at the Pride Parade - a dream for many of your fans. Would you agree to play on one?

Damiano: Of course! It would be a great honor for us! We are aware that a large proportion of our fans are members of the LGBT community and we are very proud of it.

Victoria: It's stupid that some bands still ashamed of Parades. After all, i'ts a great honor.

Q: Let's change a subject for a moment. Today we are in Sopot. The seaside capital of music in Poland. Have you had the chance to lie on the beach?

Victoria: Are you kidding me! We got here about two hours ago. We don't have time for anything. We say this almost every day, that it would be fun to do a little sightseeing in the places we visit during our promotional tour. We are going back to Milan soon, so Poland is the last stop of our adventure.

Q: Well, you are going on another tour in a moment. Tell us what we can expect at your concerts. I understand that the performance at the festival in Sopot will be just an innocent announcement (laughs), and we will see your true face at Open'er Park?

Victoria: Our concerts we are definitely crazier.

Damiano: We missed performing on stage. We haven't been able to perform for a long time due to the coronavirus pandemic. That is why we are really grateful that we can play at such festivals as the one in Sopot. This is another part of the plan we mentioned earlier (laughs).

Q: You won Eurovision. If, however, you took second place, who would you give the "crown" to?

Måneskin: Ukraine!

Damiano: I think Go_A did more or less the same as us. They showed all of Europe that rock music is still crashing the system! They didn't try to please anyone. They were themselves and this won the hearts of many fans.

Q: Vicotria, there are only guys in the band! How do you feel as the only woman surrounded by gentlemen?

Victoria: Great! I can't imagine our band looking any different. We are a wonderful family and we support each other every day.

Damiano: We understand when Victoria has her moods (laughs).

Victoria: Stop it! I feel no different from you. I'm just a member of Måneskin. I don't feel any different!

Ethan: Besides, everyone knows that I am the real woman in the band (laughs).

Q: If you weren't making music, what would you be doing?

Ethan: Music. There is no force in this world that prevents us from making music.

Damiano: Exactly! We are musicians who do not see each other in normal work.

If I couldn't make my own music, I would probably be a producer who would come up with melodies for other artists.

Victoria: Or we would teach to play instruments. People need to understand that music is part of our lives and we cannot imagine that there could be a reality in which we do not create.

Q: You are traveling a lot now. You are in a different city almost every day. What was the craziest thing that happened to you on this tour?

Måneskin: SWEDEN!

Victoria: There were some crazy events during our visit to Sweden. Security services had to close the entire street because so many fans showed up outside our hotel.

Damiano: At one point, the police were called and they had to control the crowd.

Q:Now you are going back to Italy. Does that mean fans can expect even more new music soon?

Damiano: We are currently promoting us the mini-album "Teatro D'ira. Volume 1", but you are right, when we come back we lock ourselves up in the studio and work on new music. However, we don't want to reveal anything because that would spoil the surprise for our fans.

Victoria: We need time. We don't want to feel pressured because then the music will lose its value.

Damiano: Be patient.

#måneskin #maneskin #maneskin interview #damiano david #damiano maneskin #victoria de angelis #victoria maneskin #ethan torchio #ethan maneskin #thomas raggi #thomas maneskin #my translation #forgive me any mistakes #i'ts 2 am #i'm going to sleep #goodnight

[tofallinlovewithshadows]

Making of Mein Land liveblog

I swear I meant to do this when I desperately needed serotonin, but I was too lazy to open my laptop and go on YouTube

Anyway, thank you to @sine-luce-angor-minus for sending me the recommendations in my time of need! This is one of my favorite music videos and one of my favorite making-ofs, which will hopefully translate in the disorganized mess sure to come

✨on with the show✨

Mm, love me some Reise, Reise

Can this girl teach me how to dance because lord knows I cannot

I love how Rammstein “always wanted to do a beach video.” Like, I would just like to have been a fly on the wall for that collective decision

Fuck, Till looks so good in this video. The bod. The hair. I will not hear any disagreements.

And when he smiles and waves in the little surfboard intro 🥺

Schneider is so horny in this making-of, it cracks me up

The dorky dance moves omg I love these boys so much

The Oli scene. What can I say? Schneider doing the twist, Till heckling him, Paul head banging, Reesh trying to retain his dignity. The only time I ever want to use the phrase, “boys being boys”

Goddamn, Till’s arms...

Mayhaps this is super American of me, but I love Hawaiian shirts lol and they boys looks so cute in them

I love how Flake was straight up not having a good time, and the fact that he does his interviews in the “night portion” costume cracks me up even more

The girls teasing the boys for their dorkiness—just saying what we’re all thinking

Flake is so cute coming out of the van. And he’s the only one who remotely looks like he belongs in a ‘50s beach movie lol

I also LOVE how diverse the cast of girls in this music video is

Schneider’s little giggle 🥲

The Pallid Berliner—I hope his sunstroke wasn’t too bad

God, Paul must have been in heaven that day

Fuck, Lifeguard Till is just... Sorry, I think I’m drowning, pls help, mouth-to-mouth is definitely needed

I love when Oli talks in the making-ofs. Does he talk the most in this one as opposed to the other videos? I feel like he does

As an American, I feel like I need to apologize for David Hasselhoff???

I dunno why, but I love the girl with the raspy voice who talks about their style (the one who brings up Pussy later)

Till’s awkward dance moves—MARRY ME SIR.

Also, he looks SO GOOD in a collared shirt, and this video highlights it

I love how this video was filmed in such a time-crunch. Like, it’s so well-produced, you’d never know

O trusted oracle, please tell me what Till is giving this man all dressed in black right before he readjusts his bathing suit

What a great hairstyle this was on my boyfriend, Till

And yes, these bathing suits are so ugly, but they Work

Hearing him say, “goofy,” never fails to make me smile, especially with his bathrobe and Glasgow smile paint on

I will never get over how much I love that EVERYONE was having the time of their lives while making this video...except for Flake

The boys in plaid... Why do I think this looks so fucking good on them??? Is the problem me? (Probably)

Rammstein brings the best out of everybody. Confirmed.

When they’re pushing each other 🥲 And Till looks so happy 😭

How did I JUST NOW, after having seen this upwards of five times, notice that Schneider is the one who gets taken out with the surfboard lmao

I want to be hugged like this some day, preferably by Richard

I’ve never actually seen the Pussy video lol I worry that I would get too jealous

“Rammsteen”—making all of us Americans look bad (not that it’s a hard thing to do)

“I’ve never done anything like that ... smiling all the time. It’s not my thing!” Oh, Till, how you break my heart

But then he chuckles and I’m filled with joy

Richard and Schneider clapping before they all run off to join the dancers—another thing I can’t believe I’ve never noticed. God, I love these boys

“I like him. He is fun to be with, a nice guy and Swedish.” That’s it, friends, that’s the bar

I wish there had been a storyline in the Ich tu dir weh music video. It was still cool, but I like when there’s a narrative to follow better

I don’t wear make-up, like, ever... But I want to know what lipstick Flake is wearing

The way Schneider’s hair flows in the wind

Who tf do I have to beat up for harassing Till on the beach?

God, his profile is GORGEOUS. It’s so unfair. I look so much worse from the side

Still drowning over here, Lifeguard Till, please come save

Is that Till laughing like that? My God, music to my ears

Does Oli talk more than PAUL does in this?? (Paul’s name wasn’t meant to be all-caps, but my phone autocorrected it and it seems fitting, so I’m not changing it)

Saucy Fruit. My old college nickname.

Seriously, though, what a great point about tone

Oli’s plague doctor get-up

I can’t stop thinking about the point I believe @theelliottsmiths made about one member of the band needing to look bad so the others can shine, and Reesh definitely bit the bullet this shoot. Some sacrifices need to be made

I love the way Schneider waxes poetic in the making-ofs. When I was first getting into Rammstein and trying to figure out who was who and stuff, I always thought of him as “the reasonable one” lmao

Now I know better. There is no reasonable one

I never would have thought of “best-of album=break-up” and I’m glad it’s not true, especially in the boys’ case

God, when still looks at the camera head-on... I feel like he’s the type of guy who makes you feel like the only two people in the world when he talks to you. Such a nice feeling 🥲

This video gives me flashbacks to a group project I worked on in college about the Male Gaze

Ah, talks of touring. Hopefully the world won’t end soon and I can go see these guys sometime

Can you imagine seeing Rammstein and System of a Down at the same concert? I would die. Even though Till has taken over the spot in my heart once held by Serj Tankian. Still...a cold shower would be needed

The success story of these boys makes me so happy 🥲 So proud

#rammstein #till lindemann #paul landers #christoph schneider #flake lorenz #oliver riedel #richard kruspe #mein land #mein land making of #liveblog #I hope this isn’t garbage

[photolover82]

The Masked Singer Season 6 Episode 3: Time to meet Group B! (Commentary & Guesses)

Hello fellow humans! Welcome (or welcome back) to Ana’s Masked Singer recap, where I recap and talk about this show called The Masked Singer if you wanna stick around for that. So, this time around, we get to meet the other group, Group B, who we might not see again for 2 weeks, since we are going to see group A perform again this upcoming week with a new wildcard, Pepper. Anyways, let’s get started with the recap:

Group B was introduced and they consisted of Dalmatian 🐶, Queen of Hearts 🫀, Mallard 🦆, Cupcake 🧁, and Banana Split 🍌🍦. They performed, and one was eliminated unfortunately, let’s start with that…

So the contestant that was eliminated/revealed first in Group B was:

Dalmatian 🐶

Performance Commentary: ok, so I wasn’t super surprised by this elimination honestly, I expected it since he was the weakest vocally of this group. He sang Beautiful by Snoop Dogg ft Pharrell Williams and I gotta give him props for actually singing when most rappers just decide to only rap and not sing at all on this show. However, he did sound a bit like they put way too much of that auto tune stuff on his voice so it sounded like a robot him singing, which kinda made him the weakest link. However, his rapping was awesome (duh because that’s what he does professionally… and btw not spoiling who he is with that comment because when you hear the performance, you’ll know 100% it’s a rapper)

And he was revealed to be…

*DRUMROLL PLEASE*

Tyga

Omg I knew it!! Thank you Twitter for helping me out, y’all are the best. I thought at first it might have been Chance the Rapper but then people started saying Tyga and I was like hmmm lemme see the clues, yup makes sense, well great segue (segway) Ana because imma show you some of the clues you might have missed:

Scream Poster= he was in the Scream series

Cat Doll= play on words because his name is Tyga (like Tiger… man these producers are really into puns, it’s kinda clever tho)

Was discovered by a big player= in 2007, he started doing mixtapes and he was discovered by Travie McCoy who offered him a record deal

Now, that we have that out of the way, let’s get into our remaining contestants (big warning: this group has left me all types of confused when it comes to guesses so I apologize if my arguments aren’t perfect with some of these):

1. Cupcake 🧁

Performance: This performance is so confusing to me. Idk if this is a man or woman, sometimes I think woman with deep voice and other times I am like no that’s a man. So I don’t know about this one, it’s a very good performance of Heat Wave by Martha and the Vandellas but I need to hear more because I am confused. I am in between a specific man or a specific woman but I am not sure so unfortunately for this one I don’t have a guess

Sorry y’all no guess for this one :(… hopefully, next time they perform I will have a better idea*

*(I will say the guess I am leaning towards that a few people have said *just in case the cupcake leaves next* is Ruth Pointer from the Pointer Sisters because there were supposed to be multiple cupcakes and not just one, and in the PKG, cupcake said they were used to being in a group)

2. Banana Split 🍌🍦

Performance: They were 1000% my favorite performance of the night even though only Split/Ice Cream sang A Million Dreams from the Greatest Showman. She is amazing, I absolutely love her, she has that iconic Broadway sound that I absolutely adore. Just her singing this makes me so confident on who she is omg I’m stoked!

Having said that, I am so positive, like way too certain none of y’all will convince me otherwise like Todrick level confidence they are…

Katherine McPhee and David Foster

Ok, so you guys are probably like “Ana, how can you be so sure if the damn banana didn’t even sing a note, he just played the piano?!” Well, my friends, you have a point, but I know who she is and honestly I don’t even care if I am wrong ab him (I won’t know for sure until he sings a note) but HER I am absolutely positive….and they are a married couple and the banana has heart eyes so in my head it makes sense with the clues too, but before I go to the clues, I have a funny story on how I know who Ms. Katherine McPhee is… so like I was watching this performance and was like omg her voice Sound so familiar! Where have I heard her before?! This is driving me nuts… And then I saw people on YouTube saying that it’s them and I was like wait Katherine McPhee that name sounds so familiar. Then I looked her up and I found out that I knew who she was because I randomly watched a show on Netflix called Country Comfort (which side note: LeAnn Rimes or the Sun from Season 4 guest starred on that show and LeAnn’s husband stars in it… so connection there?), which to explain the show briefly it’s literally the Nanny but with country music and in Tennessee instead of NY. Anyways, she sang a lot on that show and it clicked, I was like BINGO OMG THAT IS HER IT CANNOT BE ANYONE ELSE (similar to how I felt about Todrick being the bull when I saw that damn sneak peak performance). Anyway ya, that was unnecessarily long, now onto the clues:

She left school to move to the city= she attended Boston Conservatory for 3 semesters and left to move to LA to try out for TV pilots

Thought she got her big break, but it wasn’t it= she got an MTV soap opera plot but it never made it to air

Collaborator who sticks with me through sweet and sour= they have known each other ever since she was on the 5th season of American Idol in 2006 and their collaboration is that he is a music producer and she sings (on American Idol, he would play the piano while she sang… does this sound familiar to you guys yet? Ringing any bells? If not, rewatch the performance Banana Split did)

3. Queen of Hearts 🫀

Performance: She sang Born This Way by Lady Gaga and I already knew she was going to be good, but this was like Black Swan all over again. This beginning song wasn’t the best for her voice, but she had fun and she did the damn thing. Closest Lady Gaga singing impression I’ve seen, but I am positive it ain’t Lady Gaga. Also, she slayed that ending.

Ok, so I am not too sure about this guess but after a bit of research and voice matching, I think it might be…

Jewel (the singer, not an actual jewel)

Again I say, with a bit of research, I feel like she’s the closest guess I can give you guys especially matching the singing voices, but let’s look at the clues:

Grew up in a house that lacked warmth= she grew up in Alaska (born in Utah)

Tin man from Wizard of Oz= she played Dorothy in The Wizard of Oz in Concert: Dreams Come True in 1995

Hilary Swank photo= Swank has a dog named Jewel (when I read this I laughed, wow Masked Singer really?! 😂😂)

4. Mallard 🦆

Performance: This performance was not my cup of tea tbh, it was real deep country which is not my jam at all. The song title says it all: Save a Horse (Ride a Cowboy) by Big & Rich. Like it was great no lie, but like I just don’t really enjoy that kinda music so it wasn’t for me.

Again, this one is a shot in the dark guess but I am gonna stick with it and it is the one I am leaning towards voice wise:

Willie Robinson (yes the guy from Duck Dynasty)

Ok, so again hear me out, this might sound stupid (and half of me thinks it is) but it kinda makes sense in a strange way especially looking at the clues:

Surrounded by dollar bills= Duck Dynasty merch raised a ton of bills

Photo of Chris Pratt= they worked together and became friends filming Jurassic World in 2014

Platinum Album= Has a certified platinum album “Duck the Halls: A Robertson Family Christmas” (I can’t believe this one, I was pretty surprised)

Anyways, that’s it! I can’t wait to see Group A next week.. again yeah but with Pepper this time so woohoo another Wildcard. I just hope we can see more of Group B too because it feels like too much of Group A is being seen. Anyways, see y’all next week with the recap for tomorrow’s episode! Bye guys! Remember to do all the social media things! Like, comment, follow me for more, all of that 👋🏼

#the masked singer #themaskedsinger #celebrities #music #hollywood #tv shows #the masked singer season 6 #tyga

[abri-chan]

Do you have a favorite album and/or song from H.I.M.? 👀 (I'm just discovering him tbh)

All of them. >_> (Long answer ahead, sorry)

The good, but actually bad news, is that they’re disbanded so they’re not going to release new albums anymore. But the long answer is that it depends. (They also make good covers of other songs: Wicked Game was a cover and it made them famous)

If the teenage in me is speaking, I would say their oldest albums, such as Greatest Love Songs and Razorblade Kiss. I think their oldest albums defined the “love metal” genre they were came to be known for (I think they may even have invented it. Fun fact, they have an album titled Love Metal). However, bear in mind this is the teenage me, and I’ve read somewhere our taste for music becomes locked in teen years. I don’t know if that’s true, bc I used to listen to house music at some point, and now not so much, but I do believe if something really impressed us in young years it says with us. Ville Valo was-IS-my intellectual crush, in that way. So I’m biased, and have to admit while the vibe is what I loved of their older works, they do suffer from “edginess”. The very name HIM stands for His Infernal Majesty and there’s references to 666 bc maybe they wanted to shock adults by making Lucifer references. I cannot speak for their times as young men, bc Valo is now 44 and way way older than me. But I can guess there were some edgy moments in the beginning bc the band was young.

(Sidenote: I use Ville Valo and HIM interchangeably bc he’s the darling of HIM. To his credit, he is a vocalist and does write the songs. But it’s also bc many--mostly women, women love this band--found him attractive, and in a way he looked very feminine and the long hair we sported even confused his first producer he was a woman lol. So you had a singer, writer, charming man, who also never took himself seriously in interviews--he acted like many people would think he acted in day to day life--and that added to his charm for many.)

Lyricwise and in terms of the maturity of the vocalist, their latest works are best. Ville has always had a knack for writing good lyrics, and I would say Venus Doom is their best work in how the whole album tells as story, so it’s not just random love songs here and there like their previous works. With time, the band experimented more, the lyrics, which a lot of times read like poems, started getting more ambitious, and even the structure of songs and albums as ways to tell a story in music, not just convey a simple emotion in songs. The downside, is that many times these albums came off as “needing more refinement”, and I mean in the technicalities of whatever post-production goes into music. Could be it was on purpose bc it was them experimenting. Could be that studios work differently with bands that don’t publish all the time (the current market is artists churning songs all the time, while HIM never did that--you can count their albums that is to say.). It could also be Ville’s personal life getting in the way, and things feeling rushed or unfinished. 

So, HIM’s darling is actually an ex-alcoholic; he’s been to rehab many times. He’s open about it, bc that’s how he’s always been: never taking himself too seriously or highly, and acting like there never was a wall between him and fans. I really loved the modulations his voice could do, but I can’t say the alcohol didn’t damage his voice to some extent. There’s the physical aspect too. I remember this girl in my class bringing a magazine with an interview of HIM post-rehab (many fans guessed he had a drinking problem long before it became known he was seeking help--possibly bc that was the time HIM got famous overseas, not just Europe), and she comments that he “looks like a man now.” Lost in translation, but it was a shock to fans to see the prettyboy and feminine Ville now looking more masculine. Nothing wrong with being masculine or feminine looking, but I do think the stress probably made him look older than he should have. And I suppose that also affected how he could handle music production, especially in between rehab and fighting an addiction. 

I have yet to form an opinion on the band’s last albums: Screamworks, Tears on Tape. I have listen bits here and there, but not sat down to listen to the whole thing. They do come after Venus Doom, so you kinda have to deal with the band telling a story, even though you can enjoy the songs individually.

My favorite song is random though, and not sure if a cover or original, and it feels very unplugged: Borellus. It’s just Ville being all over in place with his voice, but I really like his voice modulations so I like the song. And it’s very mystic? He likes to add religious symbolism all over the place, and that’s constant with all their songs.

(although I think Dark Light may be their most famous album? I think a lot of people that haven’t heard of HIM they have heard of Killing Loneliness... Interesting music video too)

(edit bc i forgot to say there are songs that have been used in movies, one of which was an animated movie, if I recall correctly)

#anime manga rambles #his infernal majesty #h.i.m. #ville valo

[yellowjavkets]

Can you recommend non white and non American music?

Absolutely! I am so fucking excited to answer this ask, like u have no idea. I’m fucking thrilled. Some of these are american but all of these are bands of color or are fronted by people of color(I’m gonna italicize musicians that I know are lgbt also. just like. given my recent complaints)

Mashrou’ leila is a Lebanese rock band that has just like. god. the lyrics. I can’t believe I went so long in my life without knowing of them. Their songs are in Arabic, but the translations for most are very easy to find. My personal recs for songs by them to get you started are wajih, radio romance, and  3 minutes. I absolutely cannot recommend them highly enough. 

Babymetal is a band that I recently started getting into, like a million years behind everyone else. They’re a Japanese metal band and their music is super fucking high energy, really just launches you into the damn stratosphere. Some of my favorite songs by them are gimme chocolate, catch me if you can and starlight (most of their music is in Japanese but once again there are loads of translations)

Kevin Abstract is an American hip hop singer who writes music both soft and heavy sounding songs that relate to a lot of not often given the spotlight experiences, namely the experiences of being a gay black man in America. I relate to him more than a LOT of white gay musicians and his album “American Boyfriend” is an absolute fucking masterpiece, I even have it downloaded to listen to on long car rides. My favorite songs by him are Echo, Papercut and Miserable America!

Conan Gray is a pop musician who writes a lot of really fun music and like, so many fucking earworms. I literally cannot think of a single one of his songs that I don’t like at least a little, which is very rare for even musicians I do like. And his music videos are super fun. Some of my favorite songs by him are Fight or Flight, Crush Culture, and Wish You Were Sober, which I have listened to over 200 times

More music recs under the cut!

Fea is a latina punk rock band based in San Antonio that I absolutely cannot get enough of. Their name means ugly, but in the feminine form in spanish. Speaking of spanish, a lot of their songs are in spanish, but some are not, which gives it a nice eclectic mix. and helpful for spanish practice lol. Plus they were produced by Laura Jane Grace of Against Me! god, imagine being that fucking cool. My favorite songs by them are La Llorona, Sister K, and Pelo Suelto

Oceanator writes an eclectic mix of synthy business and guitar ballads. I love her music so goddamn much, and it's been a big inspiration in me finding my own sound! my favorite songs by her are Nowhere Nothing, I would Find you, and January 21st

The Hu is a band that took me quite some time to get into but they're a Mongolian rock band that wrote that one song that was super popular here in the states a while back. Their sound is heavier, but it's also so incredibly fucking cool. Some of my favorite songs by them are Sad but True, The Legend of Mother Swan, and Wolf Totem

Meet Me @ The Altar is a band that is very, very derivitave of paramore but in like a super fun way. Their sound is just so fun. Their sound has making me forgive pop punk bc turns out when pop punk is sung by a trio of WOC and not a white dude crying on his guitar about his shitty girlfriend, it can actually fucking rule. Some of my favorite songs by them are Garden, Tyranny, and May the Odds Be In Your Favor

Japanese Breakfast writes a lot of really cool slower songs that make my brain feel like it is melting in the absolute best way possible. it's really hard to describe, which is actually one of my favorite things about it. Some of my favorite songs by her are Road Head, 12 Steps, and The Body is a Blade.

Neon Jungle is a British band who writes a lot of high energy shit that just launches me directly into the fucking stratosphere. Like I'm so serious, they will end your life and revive you fifty fucking times over. My favorite songs by them are Trouble, Louder, and So Alive.

Pom Pom Squad is another band I really like, a rock band who does softer shit sometimes. Their range is insane, and Mia Berrin is one of the most talented fucking vocalists I've ever heard in my whole life. Some of my favorites are Sunday Song, Heavy Heavy, and Honeysuckle

Nova Twins are another duo from the UK who write a lot of heavier guitar stuff. Mostly white punk fans have gotten pissy about them being classified as punk, so I won't, but lbr it's clear what their influences are. In a good way. Their music WILL rip your dick clean off. Some of my favorite songs by them are Bassline Bitch, Devil Face, and Ivory Tower.

Black Belt Eagle Scout is an indigenous musician that writes a lot of really cool softer guitar shit. Super chill music I like to put on to relax and write to. Also loads of her lyrics are downright masterful. Some of my favorite songs by them are Half Colored Hair, Just Lie Down, and Indians Never Die

Rina Sawayama, who you probably know of at least periferally, writes pop music and stuff of that nature. Her music could pull me out of a fucking coma. She's based in the UK. I absolutely adore her and her weird fucking fashion. Some of my favorites by her are Bad Friend, Comme des Garcons (Like The Boys), and Lucid

Milck does a lot of like, idk how to describe it. I have no idea what genre it is. I don't care to know. It rules, whatever it is. It's sort of soft, but powerful with a really cool beat. Some of my favorite songs by her are Devil Devil, This is Not the End, and Call of the Wild.

I HAVE TONS MORE, LIKE LOADS MORE, LIKE GIVE ME THE GO AHEAD AND I WILL MAKE A PART TWO, but I think that's a good amount of my favorites for now.

#Anonymous #monster growl #slimed and answered

[anikkis-fantasirealities]

“LiVELY Legacy of Japan’s Lionized Anisinger”

➀ Personality Profile ┊ ˢʰᵉ ʷʰᵒ ˢʰᶦⁿᵉˢ ᵗʰʳᵒᵘᵍʰ ˢᵒⁿᵍ ᵃⁿᵈ ˢᵗʸˡᵉ··· ˢᵐᶦˡᶦⁿᵍ ˢʷᵉᵉᵗˡʸ ʷʰᶦˡᵉ ˢᵃˡᵘᵗᵃᵗᶦⁿᵍ ˢᵘᵖᵖᵒʳᵗᵉʳˢ·

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ꒰⁺˚₊·₍₍loading...₎₎ ㅤ ✎...۪۫❁ཻུ۪۪ -ˏˋ 🎤 ˊˎ-

ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ

༘✶ ㊉ ㈦〘 ⅯⅯ 〙⋆｡˚𓆟 ༉ ║ Posted : ０６/１５/２１° ｡༄ ‧₊˚ ๑ ㅤ ㅤ ㅤ ㅤ •ଓ.° ｡❍ ㈩ ㊇

- - ——— ꒰ An article by Nicole “Nikki” Elaine S. Chua of NEU-IS ꒱

ㅤㅤ ㅤㅤ₊·͟͟͟͟͟͟͞͞͞͞͞͞➳❥ ࿐ྂ—͙❬₊° ᶦ ᵃᵐ ᵃ ᵇˡᵒᵍᵍᵉʳ ᵃᶠᵗᵉʳ ᵃˡˡ·“= ‹⸙͎

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ

ㅤㅤ ㅤ❝ Madamada iku wa yo~! ❞

ㅤㅤ ㅤㅤㅤㅤ ㅤㅤㅤㅤ ㅤㅤㅤㅤ ㅤ ㅤ- LiSA (Rally Go Round)

ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤ.ılı.lıllılı.ıllı. ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤᴺᵒʷ ᵖˡᵃʸᶦⁿᵍ﹕ᵍᵘʳᵉⁿᵍᵉ ⁻ ᴸᶦˢᴬ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤ0:11 -◦————— 3:59 ㅤㅤ ㅤㅤㅤ ㅤㅤ〔 ↠ⁿᵉˣᵗ ˢᵒⁿᵍ ╵╻↺ ʳᵉᵖᵉᵃᵗ ╻╵⊜ ᵖᵃᵘˢᵉ 〕 ㅤㅤ ㅤㅤㅤ ㅤㅤㅤㅤVolume: ▁ ▂ ▃ ▄ ▅ ▆ █ 100%

Lush, loose—lofty and lovely. Lucent and lavish—lustral, laid-back, & luxuriant. Luminous. Legendary. Limitless. Light hearted and letter-perfect. There is not enough words for me to describe her overflowing talent for music, and the impact she has created for tech-savvy usernames cheering on their favorite idols & animations alike. Nowadays, most millennials and Gen Zs go neck-to-neck with their clashing interests of two international sensations: one known for the funky beats of charismatic boys dancing in synchrony, and the other, notable for moving illustrations of all kinds of stories that allure the imagination. Yes, let’s admit it, my generation has fallen in love with the influence of K-pop and anime, though I cannot blame anyone because of the fun & happiness they bring. Do you agree with me?

Well, even if you cannot agree or relate with me, I’m sure you would be able to find this article interesting! This personality is not someone of looming authority nor power—she is not a lady from the West, nor the Northern isles or even the Southern seas. She is here: the Rising Sun’s pride and honor bestowed by a sharp katana slaying all evil. It is where that familiar tune of hers is empowered with the narrative of a young man and his breathing techniques—a tale beloved by many anime fanatics. Yes! I’d like to introduce to you, one of Japan’s famed singers of all time: 𝙇𝙞𝙎𝘼! Make your entrance, please!

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ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤ 【 今日もいい日だつ 】 ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ❝ Today is another great day! ❞ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ㅤ- LiSA ╰╼|════════════════════════════════════|╾╯

My life is truly music-inclined, even if I have two left feet and a raspy, rough voice. Those foreign lyrics ring out in my head, every time I enter through the gates of Japanese culture and enter my fantasy I know so well. I mean, cool right? I can still remember how I first embraced her beginning chords in January 2020, when that song, Gurenge, was heard throughout the spacious stadium of the New Era University college department. It was the opening ceremony for Intramurals 2020, and as soon as the melody played, the crowd sang along in a noisy type of harmony.

𝙂𝙪𝙧𝙚𝙣𝙜𝙚, it means “red lotus” in English—the title of the Japanese opening theme for the animation called, “Kimetsu no Yaiba,” or more acclaimed as “Demon Slayer” by millions of anime ethusiasts across the web. I wondered what that range of vocals wanted to tell me. Those beautiful notes and the intensifying instrumental that accompanies such an epic story. Slowly, I understood why she is adored by many people, rain or shine, sun rays to lunar silhouettes. Now, here I am writing with everlasting conviction, to share everything I know about her—the reasons why that captivating rhythm, those inspiring words, and the pleasant emotions, made me sing along. So, let’s rest for a while, and I’ll tell you more about LiSA, behind the reflection of that worn out blade.

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ

LiSA, or Risa Oribe in real life, is a Japanese singer, songwriter, and lyricist from the Gifu Prefecture—in the small city of Seki. She is 165 centimeters tall, which is quite tall for a Japanese woman. She is known for her multiple song hits used in Japanese animation titles such as the Fate series and Sword Art Online. Though, did you know that she also sang for the music-based anime series, “Angel Beats!” as one of the main characters who so happened to be a vocalist, as well? This was LiSA’s professional song debut in the music industry, which she lunged into when she was given a chance to step onto the reknowned arena for some of Japan’s history makers: Nippon Budokan! As a kid, Risa Oribe was taught lessons in piano, dancing, and singing, which continued onto her junior high school years. After auditioning in the infamous Budokan, she held onto the dream of becoming an artist on the next journeys she would walk on outside her hometown.

Believe it or not, the name “LiSA” is an stylized acronym, consisting of confident letters that possess unique dignified meaning from one another. The stage name is adopted from a blast from the past, of the times Risa Oribe had travelled to Tokyo to form a band. “LiSA” stands for, “𝙇𝙤𝙫𝙚 𝙞𝙨 𝙎𝙖𝙢𝙚 𝘼𝙡𝙡” which may sound weird for English speakers, nonetheless, its significance still pulls my heartstrings all in all. Prior to becoming the individual singing artist, “LiSA,” Risa Oribe has always been a part of bands ever since high school—one of them being a cover band of indie rock music, “CHUCKY.” Despite the risk of working with the band in exchange for her accredited certificates from university, she continued to reach for her ultimate dream career as a singer. Unfortunately, “CHUCKY” only lasted for three years, and this is what led Risa Oribe to test her luck in the capital of Japan—persevering for that aspiration, because there’s no turning back now!

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ㅤㅤ 【 じっと見つめた　キミの瞳に映ったボクが生きたシルシ 】

ㅤㅤ ❝ As I stare intently into your eyes, ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤmy reflection there is the proof I exist, ❞ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ- LiSA (Shirushi)

╰╼|════════════════════════════════════|╾╯

LiSA’s musical influences are, surprisingly, internationally respected musicians of the English language. Some of these prominent figures in her life are Avril Lavigne, Green Day, Paramore, and Rihanna. She is well-known for memorable hyped performances filled of power and passion. Sometimes, if people are granted the opportunity to be mesmerized by remarkable skill, she is also able to play the guitar and key harmonica in her concerts. She can sing in Japanese, obviously, but her words weaved with melody extends into Chinese and English perception, too. As a songwriter, she personally wrote some of her produced masterpieces like “Shirushi” and “Rally Go Round.” Though, perhaps you’ve never would guess that LiSA had a voice acting debut in 2015, too! Don’t get your hopes up because she did not give life to any anime characters, but instead, she became the Japanese voice of Madge Nelson in the film, “Minions.” I know, don’t get me wrong, it’s a shocking difference from the person LiSA is famous for.

However, for Risa Oribe, it was not something to be shy about, for she absolutely loves Minions! For avid fans of LiSA, they would often spot sightings of Minions merchandise in her social media accounts. It’s a fact that wouldn’t make you think that she can be that intimidating performer on fire, once she leaps onto stage. She still has that gentle vibe, especially when she raises her arm to greet the audience with a simple peace sign. The dark packed venue would chant along the bridge instrumental, rapidly waving their lightsticks until the song performance is finished. It’s as if the stars have landed in a small part of Earth during the night fall, to take a day-off head banging to the beat of rock. LiSA’s concerts deliver the message that “𝙇𝙞𝙫𝙚 𝙞𝙨 𝙎𝙢𝙞𝙡𝙚 𝘼𝙡𝙬𝙖𝙮𝙨,” as it is the running title pinned to her lives from then to now.

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ

Speaking of which, here’s a fun fact! Did you also know that LiSA’s albums all start with the letter L? From “Letters to U” and “Launcher,” to “Leo-Nine” and the recently revealed “Ladybug,” each album has a motif that follows her musical style. LiSA’s original songs tell stories of hope, determination, and love. Ever since she released her first solo single debut, “Oath Sign,” for the anime, “Fate/Zero,” her name would never vanish from the music charts of new singles and albums in Japan. Songs like “Crossing Field,” “Catch the Moment,” and “ADAMAS,” of “Sword Art Online” were also noteworthy for their impact on LiSA’s career as a singer, not only for Japanese animations, but also for Japanese TV dramas and live-action films. Her very own, “Homura,” for the anime film, “Demon Slayer: Kimetsu no Yaiba: Mugen Train” have even outstretched to the Billboard charts across the Pacific ocean!

Today, she has celebrated her 10th anniversary in the music industry—a realization that it just seems like yesterday when she got to meet her fans in different countries, go on tours to perform everyone’s favorite anime songs of hers, and made her mark as an “𝙖𝙣𝙞𝙨𝙞𝙣𝙜𝙚𝙧” of the Rising Sun. That is why she is, indeed, an artist with a lively legacy to our current era—a personality deserving of a profile article from yours truly. It’s been great having you with me in this article, and I hope you were able to find admiration for LiSA and her work! Thank you for reading! I’ll see you again in another blog where my fantasies become realities! A Nikki reminder: don’t always go with the flow, and be yourself! Good day!

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ㅤㅤ ㅤㅤ 【 生き残ったこの世界で　新しい　眩しい　 ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤㅤ 開けを迎えに行こうか 】

ㅤㅤ ㅤ ㅤ❝ In this world I live in, there will be a new glow, ㅤㅤ ㅤㅤ ㅤㅤ for now let’s welcome the new dawn! ❞ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤㅤ - LiSA (dawn)

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· * ✫ * ⊹ * ˚ . . 　　· ⋆ * . * . . · . · . * · . · · + . ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤㅤㅤ· ** ˚ . . + 　　· ⋆ * . * . . · . · . *

ㅤㅤ ㅤㅤ. . + 　· ⋆ * . * . . · . · .˚ ⊹ · * ✧ ⋆ · * . · . · · .. . .

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤㅤ ㅤ ㅤㅤ ㅤㅤㅤ· + ㅤㅤ ㅤ ㅤㅤ ㅤㅤ· * ✫ * ⊹ * ˚

ㅤㅤ ㅤ ㅤㅤ · ** ˚ . . + ㅤㅤ　· ⋆ * . * . . · . · .˚ ⊹ · * ✧

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ⋆ · * . · ㅤㅤ . · · .. . . · + .

ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤ. · + . *

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤㅤㅤ ⋆ * . * . .

ㅤㅤ ㅤ ㅤㅤ ㅤㅤㅤㅤ ㅤ . · ·

ㅤㅤ﹙dedication. ﹚ ୨˚୧ ˚ ༘♡.↳ ₊˚‧

This blog is dedicated to my sister, who is a big fan of LiSA. I am grateful that you’ve made me sing with her, forevermore.

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

ㅤㅤㅤㅤㅤㅤㅤㅤ﹋﹋﹌﹌﹌「 🎀 」﹌﹌﹌﹋﹋

ㅤㅤ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ┊彡 Credits

➥ Cover Edit

➫ Background

➫ Stand-out LiSA holding a microphone stand

➫ Sitting LiSA

➫ Butterfly themed LiSA

➫ Kimono LiSA

➫ "Brave Freak Out" promotional picture

➫ "Only ≠ Lonely"

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ GIF

➫ "Gurenge" Music Clip ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ First Blog Divider

➫ "Datte Atashino Hero" Music Video

➫ "KiSS me PARADOX" -LiVE is Smile Always ～PiNK & BLACK～ Live

➫ "No More Time Machine" Music Clip

➫ "LEO-NiNE" Limited Edition A Album Cover

➫ "LUCKY Hi FiVE" Single Cover ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ Second Blog Divider

➫ Raising Arm LiSA

➫ "ASH" Single promotional picture

➫ "Unlasting" promotional picture

➫ "ADAMAS" article by Billboard

➫ "Shirushi" Music Video ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ Third Divider

➫ Red-themed LiSA

➫ "Letters to ME" Music Video

➫ "Surprise" Music Video ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ Source of Information

➫ LiSA Wikipedia page

➫ LiSA’s Discography Wikipedia page

➫ Every Anime Song by LiSA fan-video compilation

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[blueymoons]

Hey boo! Here's a bunch of numbers for that music meme: 1, 5, 6, 15, 20, 26, 28, 35, 38, and 50 🥳❤️ Looking forward to your answers, I love your music taste!

OOOoh this is so exciting!!! @kenzthepea...I adore you and I haven’t told you that enough lately. ❤❤❤

OK..Here goes:

1. Current Favorite Song: This is hard...Because I love so many songs. But the one I kept repeating today was Cardigan by Taylor Swift. I like the melody, and the lyrics that are so intricate. I especially love the bridge and I think my brain is formulating a fic with this song...but I have to wait and see what percolates. But it feels like that’s about to happen. 

5. A Song That Reminds You Of Another Time In Your Life: I’m going to with It’s Been Awhile by Staind. I don’t know why...but every time I hear this song I think back to the first guy I fell in love with. It literally never played while we were together, or featured in our relationship at all, and has nothing to do with either of us...but it makes me think of him because I feel him in it. I think it’s maybe that during the time I met him, and fell in love with him and was held by him...I was dealing with some serious things in my home life. My mother was abusive, and I felt worthless and like a complete fuck up...but all of that didn’t matter when he hugged me. None of it mattered when we were talking. It makes me feel the way he made me feel and I love that. Because I still love him. Just differently, though 15 year old me is still deeply in love with him...But I am happily married to a man who adores me, who listens to me, and who makes me feel seen...which is exactly what Daniel did for me all those years ago. We’re still very good friends and we sing karaoke together (not currently obviously) and he still gives the best hugs and he’s still as sweet and dreamy and magnetic as he was the day I met him. And I feel grateful, so damn grateful that the first man I ever loved, taught me that I was worthy of that love, so that I could recognize when my husband felt the same way. That was long...but worth it. And you knew I’d be wordy. 🤣

6. A Song That Reminds You of A Place You’ve Been: I cannot hear the Hawaiian version of I’m Yours by Jason Mraz without instantly being transported to the beach house my husband and I were married out of a little over 11 years ago. That song was played multiple times during our stay, and the Hawaiian version is so much more lovely than the radio version. It wasn’t our wedding song...but it is our unofficial wedding song. So much so that it’s the song my husband set as my ring tone when I call him. 🥰🥰🥰 I can’t seem to find the Hawaiian version but the version I linked is very damn close. 

15. A Song That Makes You Want To Fall In Love: This one was really hard...Because I’m already very much in love with my husband...But I’m going to give you two...by the same artist, on the same album, because both give off some serious sex appeal to me and both would make me ache to have someone to feel that way about if I didn’t already have my Husband-Man. Wolf Like Me by Lera Lynn ft. Shovels and Rope, and Lose Myself by Lera Lynn, ft. John Paul White (you knew he had to be in here somewhere). Both are on her Plays Well With Others album, which was co-produced by John Paul and Ben Tanner (of the Alabama Shakes) at their Sun Drop Sound recording studio in Florence, Alabama and is on their label Single Lock Records (I’m a huge fan of pretty much every artist on Single Lock’s label) and these two songs are just straight up magic. Wolf Like Me is like...a werewolf love song. It’s literally her begging someone to be a wolf like her, and understand her, and I believe its a cover...but I choose to ignore that because I don’t ever want to hear anyone but Lera and S&R singing it. It’s haunting and sexy and just...ooof. So good. Lose Myself is sexy AF as well because it’s a duet with John and they’re basically singing about being in love with someone who they know is bad for them...and it’s just so painfully sexily delicious. I dare you to listen to their voices melding and not melt into a puddle. It’s almost impossible. 

(This damn post is going to be really long...I hope you don’t mind. 🤣)

20. A Song You’ve Listened To On Repeat Recently: Rattle by Penny and Sparrow (I think you already know this one) has been on repeat for me lately. This song has been many things to me...But It’s become my worship song. When I REALLY need to talk to God (I’m spiritual...I hope this isn’t something that bothers you. Apologies if it is...I won’t preach...I promise) I turn this song on and I always feel closer to Him. When I first heard it I heard it as a romantic song. But the more I listened to it, the more I felt Him in it and the lyrics really called to me. “Because I’m not proud, I’m not proud, I’m not proud of me...so how could you, how could you ever be?” really nails me on the head. I feel like I fall down on being a light for God quite a bit. I try, always, to be a beacon of love and acceptance and grace to everyone. I want to understand my fellow humans...and love them despite their flaws and foibles...but it’s hard. And so this song reminds me that I’m not alone, and that I’m not the only one who occasionally feels that I’m not making Him proud...but the last lines, “I'm gonna work on waiting, If it's true you wanna say you love me every day. And I'm sorry (that it took me so long to realize) you've always felt that way”, are a beautiful reminder that God’s love for me is something he wants to give me everyday, no matter how much I’ve failed at being His beacon on Earth. So it’s my worship song, because I don’t go to church, but hearing this song is feeling a wash of his love over me and that helps me on really hard days. (I hope that wasn’t too preachy)

26. A Song That Reminds You Of Your Favorite Fictional Character: GOD SO MANY!!! Like...everyone I’ve ever written a fic about...and there are MANY. I guess the best way to find this one is to go to my AO3 series The Music Made Me Do It

28. A Song That Represents Your “Aesthetic”: I don’t really know what my “Aesthetic” is...maybe uptight, bohemian, plant loving, boy and dog mom, who over thinks everything constantly? Is that an aesthetic? LOL. So i’m not sure how to answer this one. But if “aesthetic” means what I would have playing in the house all the time, no matter what, no matter who comes over...It would be THIS entire playlist. It’s called Relaxed Jams (which is the EPITOME of an original title...I’m not good with titles...leave me alone 😂) and it’s pretty much playing nonstop in my house and car...Unless I’m listening to Hamilton...which is also constantly playing. So...there you go...My “Aesthetic”...Hope that works for you. 🤣🤣🤣🤣🤣

35. A Song That Sends Chills Down Your Spine: In the fall of 2018 I was dealing with the knowledge that my oldest son was planning to move to Florida. And I was NOT handling it well. To be honest...I still am not handling it well. I don’t like my baby being so far away and I miss seeing his face, hearing his voice, yelling at him to clean up after himself...I just miss him like I’d miss a limb. We’ve been together since I was 18 and he’s going to be 20 in a few weeks and so, I’m sure you can imagine, over half of my life has been spent loving him. My two boys are the air in my lungs and the blood in my veins. They are EVERYTHING to me and that’s not hyperbole. It’s FACT. So, the idea of him moving away from me made me feel like I’d done something wrong, something to chase him away. And I was listening to a random Jason Mraz playlist on Spotify when I heard a song of his that I’d never heard before (which, in itself was a fucking miracle). That song is God Rests In Reason (yes...another God song...sorry) and it’s lyrics were so utterly perfect for the way I was feeling that I had to literally pull over on the side of the road because I couldn’t see where I was going for the tears in my eyes. Those lyrics were: “Well your children will not be your children They are the daughters and the sons a beginning They'll come through your womb but not be coming from you They will be with you, but they do not belong to you You can give them your love but not your thoughts 'Cause they'll arrive with their own hearts They're the coming of angels this blessed season Undone they’ll sing, Oh how God rests in reason God rests in reason Isn’t reason enough to prove how God moves through you God rests in reason And thank God you can direct the course of love itself of love itself Directs the course of life Believe not God is your heart child But rather you’re in the Heart of God” And it just SPOKE to everything I felt. I’d been asking myself why my child, who I love beyond everything else, who I’d lay down and die for if he asked me to, would want to leave me. Why would he want to go so far away...and God answered with this song. Because Michael has his own heart...and his heart is pulling him to Florida. And in those moments I started to feel a measure of peace. And I started to cope a little better. I stopped crying and feeling like he was telling me I’d done something wrong, and I started being proud that I’d raised my son to feel strongly enough about his own intuition to follow his dreams and reach for the things he wanted in life. I still miss him. I still hate that he’s gone. But it’s eased. And when it threatens to suffocate me, I go to this song. I realize it isn’t spine tingling in the manner that this question probably meant...but it tingled my spine that a song I’d never heard, by an artist I adore and thought I’d heard everything from, shuffled through my phone at a time that I really needed the message in it. I hope that makes sense...and fills the request.     

38. A Song That You Think Is Underrated: I really think pretty much everything Penny & Sparrow has done is horribly underrated. These two men deserve at least the same amount of accolades that Hozier has. And I’m sure Hozier would agree with me if he’d listened to their catalog. I’m never NOT going to promote these guys and I know y’all are tired of it but they mean a literal shit ton to me and I NEED everyone to know their music and recognize their brilliance. They’re better than Ryan Adams, and all the other sad bastards of folk...and they’re complete and total sweethearts who really give a damn about their fans. I will not rest until I’ve told the entire world about Andy Baxter and Kyle Jahnke and that’s that about that. You can find a playlist of their entire catalog of music songs here. I listed them in order of release...and I recommend listening to them that way. At least for the first listen. But be prepared to be hooked because they’re addictive. 

50. Free Slot! Any Song You Want To Share: I feel like you just had me create a playlist for you...And I’m totally OK with it. But I can tell you that...the song Green Eyes by Joseph will be featured in a forthcoming work of mine...The chapter has already been written...I just need time to finish the chapters before it. I guess this is a spoiler for the fic...but it isn’t really because if you know anything about my #1 ship...you know where I want it to go...and this song, is perfect for it. 

Goodness Kenz...I hope this was what you were expecting because I feel like I wrote you a book. 

Thanks for asking me for all of these songs...You know I love talking about my favorite musics. And I hope there are some songs that you just fall in love with here. I’d love to hear about it if you do. Hope you’re well.

Love you!

[michael-radi-the-glamorous-life]

Why Does He Endure?

Last Sunday evening was the 90th Birthday Celebration Concert for Stephen Sondheim - put together and produced by Raul Esparza, and starring a jaw-dropping list of Broadway celebrities and personalities.

Despite the technical glitches - which had Twitter abuzz with some excellent Sondheim-related humor - the evening was beautiful.

The performers had recorded their songs ahead of time from their quarantined homes and still, somehow, the music and performances were just as emotional, raw, delightful, and revealing as they might have been with more theatrical conditions.

Why?

The music, the lyrics, and the marriage of the two.

Stephen Sondheim has to be one of the most polarizing musical theatre writers, having been lauded as the most important to live and also berated for being too high-brow and difficult to perform or understand. And yet, he is known as “the master.” Not a master - and we do have many - but the master.

Why? What is this legacy? Why does Stephen Sondheim endure?

Content Dictates Form

Now, I could write an entire life-long dissertation on Stephen Sondheim and the brilliance of his work (and some of my friends and family would probably say I’ve been doing it verbally for years), but I want to boil this argument down to its basics.

In his lyric anthology Finishing The Hat, Sondheim writes of the three writing principle truisms:

"In no particular order, and to be written in stone: Content Dictates Form Less Is More God Is in the Details all in the service of Clarity without which nothing else matters."  -- Stephen Sondheim in "Finishing The Hat"

Let’s begin with “Content Dictates Form.”

What does that mean?

One of the reasons that Sondheim’s music endures - and specifically within the context of the shows for which it was written - is because of this first principle.

You cannot easily remove one of his songs to be performed outside of its show for an audience that is unaware of its context. Sure, they may enjoy the music or find the piece entertaining, but the song would not have its full impact outside of the show. And this is something that used to be common with theatre music, but (with the exception of “Send In The Clowns”) not with Sondheim’s music.

Why is this?

The content of Sondheim’s writing - the time, the setting, the plot, the storyline placement, the characters and their individual personalities, the opinions, and the messages of the piece - define the formation of the songs. Every piece of music he writes is entirely wrapped up within the world of the play, and taking it out of its context can therefore be quite difficult.

You can absolutely, out of context, have:

A group perform “Sunday” from Sunday In The Park With George

Two people duet on “A Little Priest” from Sweeney Todd

A devastating rendition of “Send In The Clowns” from A Little Night Music

You can do these things out of context and have them be appreciated for their craft and beauty. But something will be missed.

There are layers of enrichment that come from knowing:

“Sunday” is a musical representation of the pure beauty and tranquility that George Seurat finally feels in blocking out the chaos to finish his masterpiece painting.

“A Little Priest” is the unadulterated and insane giddiness of two brilliant, yet disturbed, people figuring out how to bring their goals into alignment - aka murder barber customers for practice and bake them into pies for money.

“Send In The Clowns” is a moment of stillness and deep self-reflection for a character who has never faced what she has always known, which is after we’ve watched her flail around her desires for two hours.

Sondheim takes these moments in the stories and crafts them into music perfectly appropriate for the situations and characters:

“Sunday” is a brief group vocal number based mostly upon quiet unison, which blossoms briefly into exuberant dissonance before returning to a quieted and major harmony in the end.

“A Little Priest” is a seven minute comedy number based in grotesque wit and delightful one-up-man-ship.

“Send In The Clowns” is a conversational, lilting, and dynamic solo ballad, which purposefully does not develop in either melody or harmonic structure.

Extraordinarily different pieces. All very Sondheim, but all utterly specific to their content.

Less Is More

I already hear some of you at home saying:

“But Michael, he’s known for his complexity and wordiness! How can Sondheim believe in Less Is More?”

Well, believing in and succeeding at are two entirely different things. And Sondheim acknowledges all over the place that he strives for these principles, knowing that he often falls short (as do we all).

But if you were to look at the songs of his that most endure - the ones that really cut to our emotional and intellectual centers - these are often the ones that follow this mantra the most.

Every Sondheim show is filled to the brim (if not overflowing) with music and lyrics, and many of these are immediately forgotten upon leaving the theater or skipped when listening to the albums. But the ones that cut through universally for performers and audiences alike tend to be wrapped up in the simplest of ideas:

Finishing The Hat

No One Is Alone

A Weekend In The Country

By The Sea

Anyone Can Whistle

Being Alive

Everybody’s Got The Right

I’m Still Here

And this is but a tiny fraction.

If you know any of these songs, their titles alone will evoke a sense of time, character, emotional state, and a wonderfully tuneful hook. And everything else about each of these songs is built specifically around these simple and effective ideas.

Do the lyrics often spin off into ambitious wordplay, complexity, and depth? Yes. But all of it centered around these simplistic and easy-to-follow ideas - he never strays.

God Is in the Details

Details come in all shapes and sizes, so it would be difficult to discuss the full breadth of the kinds of details Sondheim has mastered. There are too many.

So I will leave you with a few.

1. Correct Stress

One of the reasons performers love to sing Sondheim music - and audiences are able to take in as much information from his wordiness as they can - is because Sondheim takes great care to place words on his melodies so they are stressed precisely as we would say them.

There are many songs out there in the world that people say are difficult to sing - “it’s almost like it’s impossible to sing it well!” Usually, this is because of mis-stressed words. They’re tricky to spit out.

But when they stress is correct, you can speed through an insanely wordy line and still be entirely understandable (see “Getting Married Today” from Company).

2. Musical Development

I wrote a 10 page paper in college about the first half of one song in Sweeney Todd, dissecting the musical development and how it related to the characters and tone of the piece. And I had much more to say.

Sondheim takes great care to build a musical world, build a tune off a singular idea, and then to break his own rules only when the story calls for further movement or development. And every time he does it, it’s wildly effective.

For just a minuscule example, in Into The Woods, Little Red sings a song called “I Know Things Now,” which is the story of her encounter with the Wolf. The main melody is almost garishly major, since Red is both a kid and dreadfully annoying.

But when she gets to the part of the story where she starts feeling fear, Sondheim alters two notes in her now-familiar melody to make them minor. Just two. And then we understand her state of mind clearly.

Details.

3. Wit

A lot of people are witty. But few people are as appropriately witty as Sondheim.

It’s one thing to write your face off and be clever at any and all times - this is a great showcase of the writer and their talents. But it’s an entirely different thing to be witty in a way that’s 100% appropriate to the character, their language, and their situation.

My favorite example of this is in Sweeney Todd during “A Little Priest.”

Mrs. Lovett is a cooky delight of a character who is clever, insane, and good at wordplay and word association. However, all of this gets kicked up a huge notch during “A Little Priest” when Sweeney starts playing the word games as well. Suddenly, she has to up her game.

Prior to “A Little Priest,” in which they wittily discuss how they could cook different people into pies to sell, Mrs. Lovett would likely not have gotten to the point of being able to put together:

“Or we’ve got some Shepherd’s Pie peppered with actual shepherd on top”

A brilliantly witty line, but also perfect to Lovett in this one moment in the show.

Clarity

So why does Sondheim endure?

Whether you love him or hate him, or are somewhere in between, Sondheim’s mastery of the craft of musical theatre writing is both capturing and stirring.

His craftsmanship is the rock on which his talent sits, and it has made for some of the most exciting and interesting musical storytelling for performers and audiences alike.

Sondheim is who inspired me to do what I do. His principles guide me in everything I write. And all I can hope is that, at the end of the day, I have achieved a level of excitement and clarity that Mr. Sondheim could be proud of.

Stay safe, stay healthy, stay home. Cheers everyone!

#glamorous life blog #glamorous life #Stephen Sondheim #Sondheim #principles #theatre #theater #musical theatre #writer #composer #clarity #lyricist #lyrics #music #musical #Content Dictates Form #Less Is More #God Is in the Details #master #mastery

[chaunceyandchumleysdad]

RIOT FEST, Day 3 Sunday September 15

My wife did not attend this day, but I still opted for driving as I couldn’t face taking the L after the ease of driving and parking the first two days. Weather was very similar to Friday. Some rain in the morning created a few muddy/wet areas, but the fields were mostly in good shape. A little humid with a cooling breeze and just a very light sprinkle for a few minutes later in the day.

·         Ultra Q (Rise stage) – The first band of the day. I didn’t have anyone in particular I wanted to see at this time, but Ultra Q was the choice simply because they were on the stage of the next band I wanted to see. They were a rockin’ Pop Punk band and a good opener for Day 3.

·         Save Ferris (Rise stage) - I have to admit this is one of the bands I most wanted to see this year. I love Ska Punk, I’m easily hooked on good Pop sounds and I’m a sucker for any band with a good front woman. Their 1997 debut It Means Everything is an album I cannot seem to get enough of. After their sophomore release Modified in 1997, they struggled through numerous personnel changes, breakups, lawsuits and eventually a revival where Monique Powell was able to obtain the rights to the band’s name. Deservedly so because she is the face of the band. And she was soooo entertaining. Her singing, humor and banter was outstanding. She held the crowd in sway in a manner that is comparable to Gwen Stefani. She started the show in a tight black dress and stripped off pieces of clothing until she was eventually down to a Vaudeville-type leotard. She strutted around the stage while teasing the crowd with sexual innuendos. Even the band members continuously laughed and smiled while watching her stage antics. The band covered the Dead Kennedys song Too Drunk To Fuck and of course, they finished the set with their great cover of Come On Eileen. Based on the energy Monique puts into singing on her records, I had high hopes for the show and she and Save Ferris did not disappoint.

·         White Reaper (Roots Stage) – This Louisville band that was not on my radar. However, as I was walking through the park that morning, a lady I was chatting with suggested I see White Reaper because her cousin is in the band. They were very good playing a brand of Hard Rock/Garage Punk. I stayed for about half their set before moving on to catch some of another band.

·         Frank Iero and The Future Violents (Rise Stage) – I caught the second half of this show. Frank Iero was one of the guitar players in My Chemical Romance. I was not familiar with this band but they had a nice Alternative sound and were very energetic on stage.

·         Less Than Jake – Well, I had to have more Ska Punk! I remember my older son David being into  this band when he was a young teenager. Although I’ve listened to this musical genre since the Ska Revival in the late 70’s, it was really David’s interest in bands like Reel Big Fish, Save Ferris, The Aquabats and Less Than Jake that got me to start listening to it on somewhat of a regular basis. Less Than Jake was awesome. I stood close to the stage and enjoyed their sound, energy and great humor. They put so much into their show and had a lot of fun with the audience. It was easy to tell by their laughter, smiles and jokes that they really enjoy what they are doing. This is a band I would definitely like to see again.

·         Sincere Engineer (Rebel stage) – This band is led by Chicagoan Deanna Belos. Their debut album was just two years ago. Very good hard driving Garage Punk. This was the only band I saw with my younger son Dylan, who had just arrived and then departed after the set to catch up with friends.

·         Streetlight Manifesto (Rise stage) – And more Ska! I did not see the first half of their set but Dylan and I could hear them while we sitting on the soccer field and eating some dinner. After Dylan left, I went to see the rest of their set. Like Less Than Jake, they were a fun, energetic Ska band.

·         B-52’s (Radicals stage) – For my taste, this was the beginning of a killer ending for Riot Fest with an incomparable Final Four musical artists. While I can’t say that I am a huge B-52’s fan, I did get into them from hanging out with my buddy Dean in the 1980’s. Their album Comic Thing, released in June 1989, was a summer classic that year. I still enjoy listening to it from beginning to end. They played their two big hits from that album, Love Shack and my favorite, Roam in addition to other hits such as Give Me Back My Man and Rock Lobster. What amazed me was that Kate Pierson (71) and Cindy Wilson (62) still sounded youthful and superb. Fred Schneider’s quirky voice still sounds the same too with his singing and talking voices being virtually indistinguishable. They also drew the largest crowd I had ever seen at the Radicals stage. There sound was rounded out with original member Keith Strickland on guitar and a host of touring musicians. While all still the original members, the death the Ricky Wilson in 1985 almost ended the band, but they forged ahead as a quartet and continuing to be a very entertaining band. After Riot Fest, I did read an article that suggested this was a farewell tour for the band. I haven’t seen or heard that anywhere else. Given their ages and longevity, I guess it would not be surprising, but I hope they stick around awhile longer.

·         Patti Smith and Her Band (Riot stage) – The second of the Final Four was the great Patti Smith. This was my second time seeing her as she was also at Riot Fest in 2014. One of the founders of Punk (before it was called Punk), she was way ahead of her time in terms of her music, attitude and feminism. While she has produced some great songs, I was surprised, though not disappointed, that she did several cover versions during her set including I’m Free (Rolling Stones), Beds Are Burning (Midnight Oil), Are You Experienced? (Jimi Hendrix), Walk On The Wild Side (Lou Reed) and After The Goldrush (Neil Young). I particularly liked I’m Free and Beds Are Burning. She closed the set with Gloria, which is technically a cover song (Them). However, that was the opening track of her first album and she did such a unique version of the song that she has made it her own. Add in People Have The Power and Because The Night along with a couple of other originals and it made for a wonderfully enjoyable set.

·         The Raconteurs (Roots stage) – Earlier in the year, when I heard The Raconteurs were touring, I immediately went to their website to see when they would be in Chicago. While they were going to be playing in Midwest states during September, Chicago was noticeably absent from their schedule. That immediately led me to speculate that they would play Riot Fest. While I’m sure I wasn’t the only on to draw that conclusion, I was dead right for a change. (My Riot Fest prediction percentage does not have the best track record.) I just saw Jack White perform last year at Lollapalooza so it was great to see him again a little more than a year later. I would have to say for overall performance, this was, in my book, the best of the festival. The show was just so impactful in terms of being a tight band with great professional talent, tremendous production and a powerhouse of sound. They played six songs off the new album (Help Us Stranger), four from Broken Boy Soldiers and three form Consolers Of The Lonely. I like all three albums so I was happy with everything they played. Jack White also referenced Bikini Kill during the set and the band also played a snippet of Gloria which I interpreted as a nod to Patti Smith.Unlike last year at Lolla, Jack White did not offer much banter between songs, but I believe the bands stage time was much shorter at Riot Fest than it was at Lolla. As with last year at Lolla, I thoroughly enjoyed Jack White’s guitar playing. When you look at the span of his career, the various directions he has gone with his music, and the potential he still has, he is truly a treasure of American Rock music.

·         Bikini Kill (Riot stage) – This band was Riot Mike’s coup for the 2019 edition of Riot Fest. This year was the first time Bikini Kill officially reunited as a band since they broke up in 1997. The reunion included 3 of 4 original members (Kathleen Hanna, Tobi Vail and Kathi Wilcox). I have twice seen Kathleen Hanna live with her band The Julie Ruin, but I never thought I would see Bikini Kill. It seemed like a bit of a strange transition from The Raconteurs big time Rock sound to Bikini Kill’s stripped-down Riot Grrrl sound. But Riot Fest is first and foremost a Punk Rock festival, so Bikini Kill deserved the top spot. Kathleen Hanna also commented on how difficult it is for a female band to get “this spot” (top headliner and a Rock music festival). Kathleen sang the bulk of the songs with Tobi Vail taking lead vocals for a few numbers. Kathleen talked quite a bit between songs, often addressing societal issues from a feminist point of view but also talking about the history behind some of the songs. Based on my experience seeing The Julie Ruin, I know she likes to chat on stage. However, when you are given a 75 minute time slot and you play Punk songs that are on average maybe two minutes long, I suppose you have to fill up the time with some banter. At any rate, it was fantastic to see this band and an awesome way to end Riot Fest 2019.

#riot fest #chicago #douglas park #ultra q #save ferris #white reaper #frank iero #less than jake #sincere engineer #streetlight manifesto #the b-52's #patti smith #the raconteurs #bikini kill #fuck yeah riot fest #riot fest sucks

[music2liveby]

DAY 164: 2112 by Rush

Album: 2112 Release: April 1st, 1976 Genre: Progressive Rock

This song is a 20 minute, monolithic, epic marathon of a composition. Technically, the entirety of 2112 consists of seven different movements that act as different tracks within one greater body. Due to the formatting of this song, I’m gonna present today’s article a little differently and break down each individual section of the song, focusing on its part in the story 2112 tells. But before I get into that, I do want to briefly touch on Rush, a band who has only recently stopped touring. A band of poster children for the prog genre. The trio of Geddy Lee, Alex Lifeson, and Neil Peart have developed a signature structure in their songwriting that plays out like a grand theater production, and certainly 2112 is the greatest example. For Rush, 2112 was a catalyst in saving their career, coming off of low record sales from their previous album Caress of Steel and a shrinking attendance in show audiences. Their label considered dropping Rush, but instead granted them one last opportunity at producing an album. The rest, of course, is history. Let’s get right to tearing this bad boy apart, shall we?

I. Overture (0:00-4:32): To set the scene of a futuristic dystopia in 2112, the intro is abundant in sci-fi sound effects that evoke images of starry skies and a nebulous glow. In this world, a galactic alliance called the Solar Federation united the planets in 2062 and have since created an environment of peace and prosperity where the Federation offers any and all resources to its inhabitants. In exchange, the world’s people give up their own possessions, as they would never need anything other than what the Federation offers. Musically, Overture foreshadows segments of later sections in a medley of sorts to send 2112 in motion, concluding with the biblical line, ‘and the meek shall inherit the Earth’.

II. The Temple of Syrinx (4:33-6:45): Here is where Geddy Lee’s shrieking lyrics begin telling the story of our protagonist. It is revealed that all past knowledge has been handed down by the Priests of the Temple of Syrinx, who continually monitor the people of the world so that they stay in line with the strict regulations of the Solar Federation. The Temple of Syrinx is told from the perspective of these Priests, who assert they are creating a Brotherhood of Man by providing the people their needs and ensuring tranquility, but this sense of ‘equality’ is questioned by our protagonist who sees the danger of accepting the rule of a Federation that has surveillance over every last move. A lack of material possessions only means that creativity is stifled in the world, and artistry is all but forbidden. There is little hope of solace for our protagonist.

III. Discovery (6:46-10:13): Suddenly, the wailing guitars and clashing drums come to a halt. Silence falls unto a pivotal moment in the life of our protagonist: a discovery. In a cave behind a waterfall, the protagonist picks up this strung wooden instrument that is as fascinating in its usage as it is in its construction. In Discovery, you can hear the protagonist pick at the strings in curiosity, eventually transitioning to notes, chords, and eventually full on progressions. The lyrics and storytelling are pretty straightforward on this one, but I wanted to note just how beautifully orchestrated this section is. The droplets of the waterfall, the exuberance of discovering the joy of music for the first time...all of this is carefully encompassed in Discovery. It may be my favorite section in 2112.

IV. Presentation (10:14-13:57): As anybody in this situation would, our protagonist rushes back home to share the discovery his has uncovered. This contraption could bring life to a world that gasps for air! Some are in awe, others cannot believe what they see. When shown to the Priests, they are not pleased with what they see. They denounce the protagonist for reintroducing such primitive and ancient technology into the world, and demand for its seizure. The protagonist pleads his case that such an instrument could create beautiful things for the world, but is met with strong resistance and told not to bring in such annoyances again.

V. Oracle: The Dream (13:58-15:58): Our protagonist wanders home in silence, unsure whether what he had experienced was really just a dream. It would appear this is not the case, as an Oracle appears before our protagonist like the Ghost of Christmas Past, leading him through the history before the Solar Federation. Our protagonist is shown a world full of artistry, creativity, individualism, a world that now no longer exists due to the control of the Federation. Without the existence of art and therefore music, life is meaningless. However, our protagonist has not given up hope. He realizes that the elder races that flourished in the visions from the Oracle had not disappeared, but merely left the planet in the hopes to return later to tear down the Solar Federation. One could only hope.

VI. Soliloquy (15:59-18:17): In theater, a soliloquy is a type of personal monologue in order to reveal expository information to the audience that otherwise would stay within the thoughts of the character. Our protagonists’ soliloquy resides back at the cave where his discovery began, battling the sorrow of a world without art that makes the world a cold and desolate place. In fact, the protagonist realizes that such a reality could never come to fruition under the rule of the Solar Federation. In order to truly attain peace - the paradise that was prophesized by the Oracle - our protagonist realizes the way to pass into that world is to take his own life. The last lyrics from Geddy in 2112 show the disdain and emotional turmoil of the protagonist, as his life blood finally spills over. While this should be the ending of the story, there is still one last end to tie.

VII. Grand Finale (18:18-20:33): Much in the same camp as Overture, this segment is an instrumental that is up to interpretation as far as its place and narrative within the story. The generally accepted theory is that in the Finale, the Solar Federation is under attack by an outside force, left entirely up to the listener’s interpretation. Personally, I like to believe that the elder races sung about in Oracle did come back to fight against the Priests who outlawed their creativity. The magic and intensity of the battle matches the passion that each member puts into their instrument, making it a true festival for the ears to hear the back-and-forth push and imagine the magnitude of such an epic battle. Ultimately, the invading forces defeat the Solar Federation and drive out their rule from the galaxy. The last line of the song sends chills down my spine for its implications: “Attention all planets of the Solar Federation: We have assumed control.”

#2112 #Rush #Overture #Temple of Syrinx #Discovery #Presentation #Oracle #The Dream #Soliloquy #Grand Finale #Progressive #Prog #Rock #365songs

[supastareden]

Inside the Sadness Plaguing K-Pop

by NATALIE FINN | Thu., Mar. 29, 2018 3:07 PM [X]

Nothing cheers you up, lifts you up, brings you life quite like pop music. Even when it's Harry Styles or Adeleor Sam Smith or BTS achingly belting their despair into that cold, lonely night...songs that make you feel all the feelings are still songs that are taking you to new heights. There's nothing quite like a tune that hurts so good.

As we wallow, so do we celebrate.

In South Korea, the genre is known as K-Pop—a catchy moniker established in the 1990s that's starting to catch fire around the globe—and all the hallmarks of the superstars of the Western world are present and accounted for: Charismatic boy bands, polished pop princesses, infectious chart-topping singles, carefully crafted images and tender-aged men and women who've inspired a level of fanaticism reserved for...well, almost no one besides pop stars these days.

Music is the universal language, after all.

But for the second time in four months, the K-pop world is in mourning, this time following the sudden death on March 25 of 100% singer Seo Minwoo. He was 33.

The actor and boyband heartthrob reportedly suffered cardiac arrest; an official cause of death has not yet been announced.

TOP Media founder Andy Lee, the singer turned K-pop impresario who's behind the groups 100%, Teen Top, Shinhwa and UP10TION, expressed his condolences in a statement online, calling Seo a leader known for his tenderness and sincerity.

While American audiences may still be largely in the dark when it comes to the ins and outs of K-pop and its artists, our mainstream exposure fairly limited to PSY's "Gangnam Style" and, more recently, the emergence of BTS on the world stage, fans took to social media to share exactly what Seo meant to them.

"Seo Minwoo is my life mentor. He gave up everything for 100% and perfection. Words are not enough to describe how great of a person he is. How lovely, caring and talented he is. Seo Minwoo, my king... I love you," wrote Haya on Twitter.

She continued, "Seo Minwoo gave up is acting career for 100%. Fought Top Media over and over again (f*ck you tm) to keep 100% together. Everything he did he put his absolute everything in. He openly supported LGBTQ, did vlives often to talk with perfection about their concerns."

Haya's current pinned tweet is from Dec. 24, 2015: "If 100% were a religion, I'd build them a church and dedicate my whole life and soul to them."

While that's a lot, it's indicative of the level of devotion that some K-pop stars have awoken in their fans.

A number of people tweeted that upcoming "selca days"—specific days each month on which fans post selfies with their favorite idols—should be canceled out of respect for Minwoo. 100%'s fandom is called Perfection.

And SHINee World knows what they're going through.

On Dec. 18, 2017, SHINee singer Kim Jong-hyun (known as Jonghyun) committed suicide, baffling fans and even fellow K-pop stars who figured the 27-year-old was on top of the world.

"It was so shocking, because we had seen him so often at events," BTS' RM told Billboard last month. He was so successful."

"My Poet My Artist My Jonghyun I miss you," tweeted w today. In fact, there are so many newly posted photos and video clips of the young man on Twitter that, aside from the occasional mournful missive like this one, you'd be forgiven for not knowing that he's gone.

The account Jonghyun On This Day is also doing its part to keep his memory alive.

But Jonghyun's death—authorities found charred coal briquettes in a frying pan on the stove, which produced carbon monoxide—obviously rattled the music world at large on multiple levels. In addition to the personal loss felt alike by loved ones and fans who felt they knew him, mental health is not an issue that tends to get much media attention in South Korea—or in Asia overall.

"To the South Korean government: Let #Jonghyun be the light in death that he was in life," tweeted Xavier on Dec. 18. "Recognize that suicide is an epidemic in South Korea and takes strides to ending the negative stigmas around mental health and to combat this issue. Don't let Jonghyun be another statistic."

A fan started a Change.org petition demanding that entertainment companies set up mental health support systems for their artists. More than 430,000 people have signed.

After some discussion, his family agreed to make public the suicide note the singer and songwriter, who made his solo debut in 2015 with the well-received album Base, left behind. His friend and Dear Cloud singer Jang Hee-yeon, known as Nine9, posted it on her Instagram. She said she'd obtained the note two weeks before Jonghyun's death and was asked to publish it if he "disappeared from the world."

"I'm broken from the inside," the note read. "The depression that has slowly eaten away at me has finally consumed me, and I couldn't beat it."

It concluded, "The life of fame was not for me. They say it's hard to bump up against the world and become famous. Why did I choose this life? It's a funny thing. It's a miracle that I lasted this long...

"What else is there to say? Just tell me I did well. Tell me that this is enough. Tell me I worked hard. Even if you can't smile, please don't blame me as you send me off. Well done. You've really worked hard. Goodbye."

In a sign that Jonghyun's death could help bring about positive change in the way mental health and depression are publicly discussed, the circumstances of his death continue to be a topic of conversation—one that Seo Minwoo's passing, no matter what the cause, only brings to mind all over again.

Just today a fan tweeted, "Nine said on the last interview Jonghyun once told her that she brings comfort to him. She noticed his condition got worse after blue night and when he gave her the letter she told his family right away, tried to save him, to prevent the worst from happening...

"I really believe everyone around him knew about his condition and tried their best to help him. that's why it hurts so much, that even though he got help he still wanted to leave."

In an interview with Billboard last month, members of BTS said that they wanted to keep the discussion about mental health going.

"I really want to say that everyone in the world is lonely and everyone is sad," Suga, 25, said, "and if we know that everyone is suffering and lonely, I hope we can create an environment where we can ask for help, and say things are hard when they're hard, and say that we miss someone when we miss them."

Bucking national mores and the pressure to be upbeat or put up an artificially glossy front all the time, Jonghyun, who also hosted the long-running music radio program Blue Night, had spoken out publicly about his battle with depression—much like young American stars such as Demi Lovato, Selena Gomez, Zayn Malikand Keshahave been widely applauded for doing these days.

His last Blue Night broadcast was in March 2017 after three years behind the mic. He admitted to Esquire Korea that he didn't like traveling and considered himself a homebody—and the close confines of a radio studio, just him alone with some music, had been a perfect fit.

"It may be that I came running to radio in order to escape," he reflected to the magazine, per an English translation. "I don't really like going outside. And I don't really like having to meet a lot of people. I'm also afraid of trying new things. The radio now felt like my own personal space. It had become an escape hatch for me to greet new things without feeling awkward."

Jonghyun, who cited personal matters as the reason he was leaving the radio show, said it had become important to him to share his metaphorical scars with the world.

"I'm fundamentally a pessimistic person," he said. "Ever since I was little I showed a lot of depressive feelings, and it's the same in the present. But I don't think I can keep living my life sustaining those depressive feelings forever. You might be able to go through the early-to-mid-part of your life with that kind of melancholy. But if you want to grow, you can only survive if you throw those feelings away.

"Unless you want to get trapped within yourself and die, you have to grow no matter how much it hurts—but if you stop because you're afraid, in the end it's inevitable that you'd remain in an immature state of mind. I chose the path to transform myself. To reveal myself to the public. To attempt to make my thoughts understood. I have to make people aware that this is the kind of person I am, and I can only be on the defensive if I know that they know."

The translator noted that she avoided using the word "depression," because Jonghyun didn't use what amounted to that word specifically. Even in talking about it, those feelings of sadness remained a beast with no name.

When Jonghyun died, his SHINee band mates and members of the group Super Junior (both groups under the S.M. Entertainment umbrella), all clad in black, carried his coffin from Asan Medical Center in Seoul to a waiting vehicle. His sister headed the procession, carrying a photo of her late brother.

The funeral was private, for friends and family only, but hundreds of people lined up to see the coffin leave the hospital.

A statement from S.M. Entertainment read in part (according to Rolling Stone), "The deep sorrow cannot be compared to ones of his family who had to let go of their loving son and brother but the employees and artists of SM Entertainment, also in deep shock and sorrow, are offering condolences. Jonghyun was the best artist who loved music more than anyone and always worked hard for his performance. We ask you to refrain from making rumors or assumptions based on reports in respect of his family who are in deep sorrow from the sudden news. As his family wished, his funeral will be carried out in the quietest manner with his family members and co-workers."

But Jonghyun's death was hardly the first time the punishing pace of the K-pop machine had come under fire.

In addition to being expected to tour and crank out albums, sometimes in multiple languages (SHINee had also recorded in Japanese), the artists often appear on a never-ending stream of competition TV series in addition to doing talk shows, photo shoots and public appearances to keep the fans both sated and hungry for more.

But despite the seeming glut of artists and groups to remember (there are so manyselca days), truly breaking through as a star remains an elusive concept—and standing out in South Korea's youth-obsessed culture can feel like an insurmountable challenge.

And then there's the appearance factor. "If a girl has a bad face and a good body, the problem can be fixed with plastic surgery," Kim Min-seok, a former trainer with YG Entertainment (considered along with S.M. and JYP as the "Big Three" agencies), told Broadly. in 2016.

Moreover, the litany of groups also tend to be carefully managed, meticulously packaged pop confections, with a management company pulling the strings behind the scenes. Those who hope to make it big are expected to dedicate their lives to that goal, and that's basically what signing a contract entails.

In January 2015, NBC News cited a survey of South Korean pre-teens: When asked about career aspirations, 21 percent said they wanted to be K-pop stars.

"I am thinking only one thing—our song keeps being played," 20-year-old Sowon, a member of the girl group GFriend, which had an international hit at the time with their debut single "Glass Bead," told NBC News. "I hope to perform anywhere, anytime, even if I can't sleep or I am tired."

On Feb. 24, 2015, aspiring K-pop star Ahn So Jin died after falling 10 stories from an apartment building, with police concluding that her death was a suicide. The 22-year-old had made a splash the previous year after making it to the finals of The Kara Project—a competition show held to find girl group Kara a new member after two girls had left.

"It has to be this, or nothing," Sojin said on the show's premiere. "I can't miss this." She had been a K-pop trainee with Kara manager DSP Media for five years but her contract had reportedly ended the month before her death.

Kara disbanded for good in January 2016.

ng Ha-Jin, a 23-year-old university student who had once been a trainee with S.M. Entertainment after winning a talent competition, told NBC News in 2015 that she wasn't allowed to have a cell phone while in the program and the competition to earn a coveted slot in an actual girl group was fierce—and stressful.

"The most difficult part in fact was when I saw myself and felt like I didn't grow up," she said.

The loss of individuality isn't limited to K-pop, either.

In 2013, Minami Minegishi of Japan's AKB48—a group with over 100 rotating members who appear in different configurations at different events—shaved her head and tearfully apologized in a video confession after she spent the night with her boyfriend, an apparent infraction of a no-dating rule.

"I don't believe just doing this means I can be forgiven for what I did, but the first thing I thought was that I don't want to quit AKB48," Minegishi said, according to the BBC. AKB48's manager said Minegishi, an original member of the group when it formed in 2005, had been demoted to trainee status.

Her fans, more appalled by the self-flagellation than anything else, rallied around her, insisting she not be punished for just wanting to live her life.

In 2015, the BBC reported that members of Japanese boy band SMAP somberly dressed in black and publicly apologized on their weekly show SMAPxSMAP after they attempted to leave their longtime agency Johnny & Associates.

The K-pop scene doesn't sound quite so rigid these days, with managers and producers perhaps not wanting to alienate coveted Western audiences with oppressive behavioral strictures, but it still demands a level of old-fashioned poise and accommodation from its artists.

"If you go to the agency, every young trainee will give you a very polite bow and there are notices with the company rules on the wall to remind them how to behave," K-pop industry expert Mark Russell told the BBC in 2016.

In June 2014, Taeyeon of Girls Generation and Baekhyun of boy band EXO apologized to their respective fan bases for the "disappointment, anger, hatred, frustration, and dejection" they presumably felt when they found out that Taeyeon and Baekhyun were dating (a coupling that would seemingly send their fans over the moon, Jelena-style).

Last June, T.O.P. of the group Big Bang was hospitalized for several days after overdosing on prescription medication, the incident occurring a day after he was charged with smoking marijuana—a crime punishable by up to five years in prison in South Korea. According to Today Online, when he was caught smoking in October 2016, he issued a handwritten apology letter stating, "I deserve punishment for hurting the (BIGBANG) members, agency, public, fans and family. I'll regret this for tens of thousands of years."

T.O.P. was found guilty and received a suspended 10-month prison sentence because the judge determined that, although he had admitted his guilt and "disappointed his family and fans," he seemed sufficiently remorseful.

"I'm truly sorry that I disappointed my fans and the public," the 29-year-old, whose real name is Choi Seung-Hyun, told reporters after his sentencing last summer. I will do my best to make a fresh start and not to make such a mistake again with what I've learned from this lesson,"

In August, management company WM Entertainment announced that JinE of Oh My Girl was taking a break from the group while she sought treatment for anorexia, stating, "We will wholeheartedly support JinE while she rests and receives treatment. We apologize once more for bringing this sudden news to fans and ask that you continue to show Oh My Girl unchanging love and interest." JinE's permanent exit from the group was announced in October.

It's impossible not to note a hint of concern over past K-pop tragedy and the pitfalls of fame in this otherwise cheerful birthday greeting sent today (already March 30 in South Korea) to Cha Eunwoo, or Eunwoo, of the six-member boy band Astro.

"Mr. Cha Eunwoo Happy birthday to our sweet and sparkling fluff. AROHA are so lucky to have you," wrote Ashlyn Akiko (who changed her handle to #happychaeunwooday for the occasion). "Stay happy and healthy."

#Inside the Sadness Plaguing K-Pop #kpop #big bang #t.o.p #choi seunghyun #SHINee #Onew #Jonghyun #Key #Minho #Taemin #Kim Jonghyun #Kara #astro #cha eunwoo #oh my girl #jinE

[doomedandstoned]

Candlemass: 35 Years A Band

  ~A Doomed & Stoned Double Feature~  

Dare To Knock On   The Door To Doom

By Magnus Tannergren  

I don't know how well known it is that CANDLEMASS hails from the same hoods in the Upplands Väsby right outside Stockholm as both Yngwie Malmsteen and Europe. And it is a fact that Candlemass debut album Epicus Doomicus Metallicus was released just two weeks after Europe's smash hit album The Final Countdown. We all know that that album earned Europe worldwide fame. Candlemass, on the other hand, remained an underground affair for decades.

Yet the legacy of Candlemass cannot be underestimated in anyway when it comes to heavy music. Their slow, heavy Sabbath worship paved the way for a whole genre inspired by the heavy rock and proto-metal of the ‘70s that we call, up until this present day, doom metal. Ironically, Europe now days have returned to their roots and sound more like Deep Purple or Rainbow than anything else. The circle is complete.

Anyway, this is a review of the new Candlemass album 'The Door To Doom' (2019 - Napalm Records) and not a study of when two parallel universes collide. This album also completes a full circle for Candlemass in many ways, too. It sees the return of the mystery man who did the vocals on that legendary debut album that arrived more than three decades ago. It was shocking news when Johan Längquist was announced as the vocalist on the new album -- an album that was already done with vocals by longtime singer Mats Levén (Therion, Krux). Oh the drama...

But maybe this is exactly what Candlemass needed to get back on track. The band has not been able to really deliver the goods these past ten years or so, in my opinion. Maybe it's because of the lead singer issues that have been tormenting Candlemass for ages. The reunion with Messiah Marcolin back in 2004 went south, Rob Lowe had a great voice but didn't work out as a touring member, and so on. Add main songwriter Leif Edling’s struggles with chronic fatigue syndrome and it is easy to understand that this doomsday machine has not been firing on all its cylinders for a while.

Yet here we are now. The new album is out and it is a grand return to epic doom metal as we know it should be done by Candlemass. I am the first to admit that I was skeptical, as I always am, to these kinds of albums that try to summon the glory of the past by reuniting with old members. But I am also the first one to admit when I am wrong. This is a fantastic Candlemass album.

The Door To Doom by CANDLEMASS

The voice of Längquist has matured as a good wine. It depth and grandeur coupled with attitude and experience. The vocals add that extra drama to tracks like "Splendor Demon Majesty" and "Astorolus – the Great Octopus" (yes, there is a solo by Tony Iommi on this, so another completed circle), but there is also beauty to be had, such as in the epic ballad "Bridge of the Blind" with its echoes of the great old ones, like Dio. I'm glad Johan Längquist is back. His silence has been a waste.

Musically, Candlemass delivers an album that stands proud besides the classic first four albums Epicus Doomicus Metallicus, Nightfall, Ancient Dreams, and Tales of Creation. It measures up to the challenge to invoke the gods of doom in a way that sometimes sends shivers down my spine, as I recall the greatness of this band's early years. It bares the mark of true doom and the spirits of the old classics possess this album. The guitar works by Mappe Björkman and Lasse Johansson are stellar and the thunder of Edling’s bass and Jan Lindh’s drumming is spectacular.

The music bares all the marks that makes up the legend of Candlemass. It is, in the words of the band itself, “the sound of 666.” I already mentioned some of the highlights on the album, but I must also say The Door To Doom doesn't really have any weak spots. All the songs are very strong and the riffing is epic. Despite my skepticism, I got bewitched again.

A great doom metal record, indeed, executed with precision and power. I fully believe this material has focus to make Candlemass relevant as a scene-anchoring act in metal once again and I hope they succeed, because the world needs this band. On the other hand, if this turns out to be the last album by this legendary Swedish doomers, The Door To Doom will also serve as a fitting final chapter in the Book of Candlemass. I honestly hope it’s not.

Magnus is the founder and host of Into The Void Podcast. He is also a senior staff writer at Slavestate.se, one of Sweden's oldest and most important online zines about heavy and extreme music.

☠

An Interview with

Candlemass Co-Founder

  Leif Edling

By Willem Verhappen  

I must say I was very surprised when the new record was announced, since at the time of its release, you said 'Psalms for the Dead' would be the final Candlemass full-length record. What made you change your mind? >

The "House of Doom" single. It was great fun to write it! Also working with producer Marcus Jidell was fantastic. We're quite a team, I must say. There I got the inspiration back for an entire album. We had a couple of band meetings about it and it was very clear that the band shared the enthusiasm for a new record. They had been playing live without me for a couple of years, with good response, but without an album it is easy for you to become a retro band pretty quick. Don't want that to happen to Candlemass.

I see what you mean. It's quite a challenge to stay relevant as an "older" band, especially in this day and age, when everything retro seems to be cool. On one hand you have bands like Priest and Saxon, who are still releasing decent records, and on the other hand there's bands who've been past their expiration date for decades. Do you prefer to see a band over their top or just remember them as they were?

That one’s easy. Remember them as they were. But having said that, it is a joy to see bands like Angel Witch, Manilla Road, Pries, and Saxon today, because they can still deliver. When you can’t deliver the goods anymore, maybe stay at home instead. Hope somebody will tap me on the shoulder one day and say “Leif...It’s time.” (laughs)

"Too many discussions & arguments over the years. Maybe some heart was missing in it all."

Just before the Christmas of 2013, you had a bout with burnout and stepped away from live performances for a while. What made you realize you needed to take a break? How did you get the “fire” back again?

A bit better, but not 100%. I'm still struggling with it. I hope I can do the rest of 2019's shows without too many problems. Have to look after myself, rest as much as I can, eat regularly, not party too much. Well, this is very "rock 'n' roll" to say, but it is great to be back. You have to listen to your body. If it says "rest," you have to step back. If it says, “Go, you can do it,” I hope I can!

I hope so. too. As a diabetic. I know it's sometimes difficult to listen to your body and not get drawn into the excitement of the rock ‘n’ roll lifestyle. Is it difficult for you? What do you do in these moments?

On the Candlemass tour with Ghost, there was lots of partying on the bus after the shows. I was there, but took it quite easy. Went to bed early, but still I felt tired in the morning. So if we go on another tour, I might have to stop drinking totally, to pull it off. Playing live almost every night takes its toll. I’m 50-plus, struggling with fatigue syndrome, on a tour bus to hell -- talk about the wrong man in the wrong place! (laughs) Said "yes" to it instantly, of course.

In 2015, you released Avatarium’s second album, 'The Girl With The Raven Mask.' Was it difficult for you to pick up writing again?

Yes, it was. Well, not super hard. The burnout gave me the time to rest and get new inspirado for songs. In a way, I’m glad that it happened. Think many people just go on and on without taking a break. They just keep on going and get themselves an aneurysm or something. I quit before that happened. Got lots of time to think about future and what to do with it. Songwriting is one part. That Avatarium album is pretty good, I think.

I agree. It's my favorite Avatarium record. But you're saying this like you're not as happy with the other two records. Is that the case?

No. I love all three of them, but the second is the best.

We spoke briefly at Roadburn 2017 and I don’t know who was more nervous, me for meeting you or you for getting back on stage, playing the first ever live show with The Doomsday Kingdom. I remember that you were afraid no one would show up. Luckily, the place was pretty crowded and you guys gave an amazing show. I still get goosebumps when I think of your emotional performance of "The God Particle." How do you remember your return to the big stage?

The stage wasn’t that big (laughs), but it felt rather good. I could have played better, plus it's true I was quite nervous. It was the first small step to a full return, I would say.

In September of 2017, I spoke to Markus Jidell at an Avatarium show and he told me you were working on something very special. This was shortly before the 'House of Doom' EP was announced, so I assumed he was talking about that. Was he or were you already working on 'The Door To Doom'?

We worked on the House of Doom for about six months before we started on the full-length album. If I remember correctly, we started the demoing of the new songs on November 1st. The full album took exactly one year to make. Too long! Next time, I hope I’m better, then I hope we can deliver an album in three to six months. Shouldn’t take more time than that.

Does that mean there will be more Candlemass music coming our way?

Well, eventually. Hopefully!

The only surprise bigger than a new record was the return of Johan Längquist. How did that come about?

During the recording, we felt something was missing. We had too many discussions and arguments over the years -- all of us. Maybe some heart was missing in it all. I'd worked my ass off for this record, but was struggling with my health. Too much work, too much business, too many arguments, too much bull! In the end, we took a band decision to bring in Johan again -- go back to the "ground zero" of Doom, so to speak. Mats had done a great job, but we needed to do something in C-mass to find the spark again and Johan was the answer. Now we focus on having fun, not letting any business take over. I have no clue if it will last a year or two. At least we will enjoy the time left.

Lyrically, as well as musically, I think ‘The Door To Doom’ feels like a very dark record. What were your inspirations while writing this album?

It’s a good thing that people see the albums music and lyrics in different ways. I don’t think it is that dark. We have done darker things in C-mass, definitely. The songs are about the state of the world, how I feel myself during the burnout process, sea monsters, and reflections upon life in general. This time around, I’m pretty satisfied with the lyrics.

"I have no clue if it will last a year or two. At least we will enjoy the time left."

It's no secret that you’re a massive Black Sabbath fan, owning over half a meter worth of vinyl of their debut alone. I can only imagine how special it must have been for Tony Iommi to play on your record. How did that come about and what was it like working with Tony?

We just asked him. Seriously. We asked and got a "yes!" Our manager emailed his personal manager. Couldn’t believe it when we had the positive answer back. I was over the moon. Tony Iommi will play on my song! Hardest thing was to keep my mouth shut for three months. (laughs) But, you know, if you aim for the stars, you might succeed. He sent us the solo after a while and it was absolutely great! A dream came true.

Amazing how easily these things can happen.

Yes, Dio said once in an interview that he would have loved to guest sing on records but he never had the question put to him.

You’re currently on tour, opening for Ghost. When I went to see your show in Amsterdam, I noticed their audience is turning more mainstream. For instance, before your show, I heard someone say: “I looked up Candlemass online. They sound kind of like AC/DC.” Do you recognise this and how have the reactions been so far?

I have heard that we sound like Iron Maiden and Motörhead, to mention a couple. AC/DC? That’s a first. But the crowd reaction for our short set during the Ghost tour has been really good, actually. Better than we expected, so we must have done something right. The reactions for the album have been fantastic. Super great criticism from all over the world. And the Cardinal said to us, “You are special guest on this tour. You’re not the support act.”

With a band like Ghost, I can imagine the touring life is quite the experience. Did you have a chance to interact with those guys much beyond the stage?

Not really, they play a nearly three-hour long set and they take it seriously, as you should. We did have a couple of record hunting trips with the Cardinal that were very pleasant. He is a real vinyl buff, so we raided some shops here and there.

I can only imagine how these raids go about. What's your best find this tour?

The first Steamhammer record. First press on Brain €50. I gave it to the Cardinal after the last show, since we really wanted it, too. He got it as a gift from me, saying thanks for a great tour.

Since you’re a record collector and a fan of old school metal, are there any new bands you’re into that you think everyone should check out?

I haven’t bought a record with a new band for several years. I have no clue what’s going on in the metal world anymore. I just buy old albums. Seems like they knew how to write songs back then. Lost art, unfortunately. Is Blood Ceremony considered to be a “new” band? They are pretty good, I think.

Do you have future plans for the band or will you be shifting focus to side projects like Doomsday Kingdom, Krux, or others?

We just released a new Candlemass album and the schedule for this year is already full, so I won’t have any time, this year anyway, to do anything other than C-mass.

True, your calendar is swelling with the Ghost tour and some festival appearances in the summer. Are there any shows you’re especially looking forward to?

Yes: Sweden Rock, Hellfest, Wacken and, well, all of them! (laughs)

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#D&S Interviews #Candlemass #Stockholm #Sweden #Doom #Epic Doom #Metal #Leif Edling #D&S Reviews #Magnus Tannergren #Napalm Records

[independentartistbuzz]

7 From The Women is a segment here on Independent Artist Buzz where we ask some of the industries finest seven questions. During this time of accusations and the lack thereof, we think it’s important to give women a voice. We chose to ask seven questions to honor the seven Wiccan clans.

Kristen Rae Bowden is a beautiful turmoil of tenderness and willfulness. It’s a paradoxical sentiment also evident in her artistic sensibilities. In her upcoming debut, Language and Mirrors, she fluidly, and authentically, inhabits earthy Americana and majestic orchestral rock.

What have you been working to promote lately?

In November 2018 I released my first album, entitled “Language and Mirrors.” On March 15 2019 I will release my first music video from the album. The video is for my song “It Isn’t About You.”

I wrote “It Isn’t About You” while living in a screened-in-shack with no power on the Big Island of Hawaii. I was 22, fresh from college, excited by the idea of living “off the grid”, and very much in love with a young man whose family owned land in Hawaii. After we moved there, however, our relationship quickly deteriorated, practically turning to dust before my eyes. I felt powerless to save it, or leave.

I found myself on a metaphorical island, as well as a real one, and my feeling of isolation stemmed from my obsession with the unhealthy relationship. It became difficult for me to imagine myself outside of it; I no longer felt whole on my own.

Even without electricity, I remained a night owl. I stayed up alone in the tiny dark house on the edge of the jungle, drinking wine, and writing poetry by candlelight. This is how I wrote “It Isn’t About You”: as part of a long, freeform poem. (It is one of my only songs where I wrote the lyrics first.)

Later, I put the poem to music, after I finally got the courage to leave the relationship, and I’d steadied my mind. The song is about making that return to yourself and your own joys, strengths, and needs. It is also about taking responsibility for your own choices, so that you never feel (unnecessarily) like a victim, and you can move on.

The music video for “It Isn’t About You” will premiere on Facebook Premiere on Friday March 15 at 1:00 pm.

Please tell us about your favorite song written, recorded or produced by another woman and why it’s meaningful to you.

I think, after all these years, my favorite track written by a woman is still Joni Mitchell’s “A Case of You”. The melody starts out conversational, understated, and then it soars! The simplicity of the instrumentation creates such an intimate experience, you feel like she’s in your living room, singing right in your ear. You hear every word, which is perfect because her lyrics go straight to the heart.

The beauty of the poem alone overwhelms me. Joni has a way of writing lyrics that are very specific to her own experience, and full of imagery, but when I listen to them, I feel like they are about me too. Much like an abstract painting where different people will see different things, Joni’s artful words allow you to color them with your own experience. This makes me feel truly known, and comforted somehow as a human being, because I know I’m not alone.

What does it mean to you to be a woman making music/in the music business today and do you feel a responsibility to other women to create messages and themes in your music?

When I decided I wanted to become a career musician, I didn’t think at all about my gender. I just knew I wanted to make music; that’s all I thought about.

Now, I believe that as a woman in the music industry, I have the opportunity to showcase a more feminine (as in the divine) incarnation of strength. As a culture I think we view strength in a very masculine way; it often means hardness, stoicism. I believe we tend to ignore the strength that it takes to be vulnerable... the strength that lies in open-heartedness and flexibility. After all, a branch that cannot bend is more likely to break. In my songs, I find myself wanting to express this: how brave one must be to remain open-hearted. I think it is something I have to offer that has to do with my womanhood and femininity.

When I write I honestly don’t feel a responsibility to create certain messages and themes in my music. I write according to my feelings, so those end up being the messages and themes. However, when I write a song about a certain moment in my life, I definitely listen critically to the song and ask myself what kind of message it is going to send into the world.

Once I wrote a song about a previous boyfriend cheating on me with a girl who I really thought was my friend. They both lied to me about it for several weeks. It was overwhelmingly hurtful. Some men say they have a “bro’s code” to not let women come between them. So, I wrote this song about the lack of a “girls code”, and basically sang about how I knew my boyfriend at the time was going to lie to me, that was obvious. But I never expected my woman friend to be a part of it, sneaking around and lying to me also.

Later I realized I couldn’t release the song, because of the message one might take from it. My lyrics ended up sounding too much like a woman who blames the other woman when her significant other lies to her, instead of holding him responsible, and also taking responsibility for the choice she has made to be with him. What that particular “friend” did to me was unkind, but I don’t ever want to sound like a woman who puts other women down as a group. I didn’t want to risk being interpreted in that way.

I hope to be a voice of catharsis, empowerment, and empathy.

What is the most personal thing you have shared in your music or in your artist brand as it relates to being female?

My most personal song is “My Father’s Daughter”. My Dad was an extremely charismatic, artistic, and captivating man. He was also quite the womanizer. He passed away when I was 18, and I still miss him every single day.

I think as a girl, when you grow up with a Dad who is your absolute favorite person, but over time you learn about some of his negative proclivities, you’ll have some kind of emotional reaction. And the reaction will be based (at least in part) on how you are his daughter. If you were his son, you might respond quite differently.

“My Father’s Daughter” is really about me getting into a relationship with a man who had also lost his artistic (and womanizing) father. He had a daddy-backstory similar to mine, but he had responded in a completely different way. We could understand each other better in some ways due to the similarities in our respective Dads’ personalities, but in other ways we really had no hope of ever understanding each other.

The song also has to do with the fact that sometimes, there is no stronger bond than shared grief.

I think this is the most personal thing I’ve written as it relates to being female, because it’s specific to what we would call “Daddy issues”. Anyone can have Daddy issues, regardless of their gender, but being female definitely effects how these complicated feelings play out in one’s life. This is true for me, at least.

What female artists have inspired you and influenced you?

So many! I’ve already mentioned Joni Mitchell. I just finished reading “Just Kids” and Patti Smith is a poetic hero. Others include Joan Jett, Nina Simone, Bonnie Raitt, Aretha Franklin, Patsy Cline, Erykah Badu, Zap Mama, Emmylou Harris, Iris DeMent, Janis Joplin, Grace Slick, Stevie Nicks, Carole King, Amy Winehouse, Bjork, Lady Gaga, Billie Holiday, Ani DiFranco, and Tracy Chapman.

Who was the first female artist you saw that made you want to create music / be in the business?

When I was 19, my sister and I went to see Ani DiFranco. I remember loving how the audience was overwhelmingly female, right as I walked in. I noted to myself how rare it is to be in the company of mostly women, at least for me. Ani sang her songs and I think everyone in the theater was affected, you could just feel it in the air. I laughed and I cried. I marveled at how she connected with each member of the audience personally ; she made each of us feel like we’d met her. Each of her songs consistently blew me away with her confessional storytelling. She stirred my emotions and completely inspired me.

The next night I went into a practice room at my college, played the piano, and wrote my first real song. I didn’t mean to write it ; it surprised me. It was about my Dad dying, which had happened about a year before. I scribbled it on a cocktail napkin that I’ve saved ever since.

Do you consider yourself a feminist? If so why and if not why?

I definitely consider myself a feminist. Women deserve equal rights and bodily autonomy, period. I grew up very privileged, in a community/culture that told me I could be anything I wanted, so I have to admit I was rather shocked to find out that some people still think women aren’t supposed to do certain jobs or have certain roles in life. I also grew up in a very homogenous community. For a long time I was very ignorant when it comes to the idea of intersectional feminism, and I still have a lot to learn about how feminism can exclude the experiences and points of view of women of color and LGBTQ women. It is important to me to be an ally to all women, especially those in minority communities, as they are the ones who are most effected by sexism and discrimination. Learning how to be a good ally is an ongoing process, and I consider it my responsibility to educate myself about issues outside of my personal experience. All in all, I am a feminist because women are still so marginalized, all over the world. Women’s rights are human rights, and as long as things remain unbalanced, this deserves our constant attention.

Connect with Kristen online:

https://www.kristenraebowden.com

https://www.facebook.com/KristenRaeBowden/

https://www.instagram.com/kristenraebowden/

https://twitter.com/bowdenrae?lang=en

https://www.youtube.com/channel/UC0PPhdmifjwxW8fkF_CxIoQ

https://kristenraebowden.tumblr.com/

https://open.spotify.com/artist/2mi6KqRPH72KiS6r1A9ePI?nd=1

https://soundcloud.com/kristenraebowden

https://kristenraebowden.bandcamp.com/releases

#kristen rae bowden #7 from the women #female musician #girl power #feminism #feminist #indie music #indie artist #iab #independent artist buzz

[kuciradio]

As 2018 is coming to an end it’s time to reflect on this amazing year for new music and artistry. KUCI is a diverse group of DJs and we are proud to represent all genres of music. I have finally put together our Top 10 albums of 2018 along with some honorable mentions towards the end accompanied by some lovely words written by our fellow DJs. We can’t wait for what 2019 brings for us and continue tuning in on kuci.org or 88.9 FM if you’re in the Orange County area. Have a safe and happy new year!

1. Mitski - Be The Cowboy

“Mitski Miyawaki’s powerhouse voice resonates with a haunting clarity on her stunning masterpiece Be the Cowboy. She creates entire worlds and characters out of pieces of herself, from paranoid, awkward women who yearn for traditionalism and some idealist version of what life or love should be (hello “Lonesome Love”), to cowgirls who can do it all on their own. From sorrowful to triumphant, Mitski colors the spaces in between from soul-bearing ballad “Geyser” to unforgettable dancing-alone-in-your-bedroom anthem “Nobody.” (Sophie Prettyman-Beauchamp)

“This album was so personal and raw and I also liked how the songs flowed well on this album.” (Heidi Barragan)

2. The Internet - Hive Mind

“I can't talk about this album without mentioning how mad I am at myself for missing the tour. Syd, Pat, Steve, Matt, and Chris, The Internet, are prominent figures of musical evolution; this speaks volumes and not just because they got their start with Odd Future, a hub of avid freeform artists. If you’re inclined to believe what I believe, Ego Death is a heartbreak album and Hive Mind is loaded with recovery anthems and passionate songs to share with your new partner who is not a rebound. Across the timeline, the sounds change from R&B and Hip-Hop to Funk and Soul; but what captures my attention the most, from Ego Death to Hive Mind, is the way a facade is casted aside. Hive Mind is just so sincere and therefore, perfectly fitting for being a part of my top three.” (Thorson Munoz)

“[This album] is a very funky album with heavy tones of R&B. The Internet does not disappoint with their funky sounds, which can be heard on “La Di Da”. Overall the album has powerful baselines, thanks to the amazing Steve Lacy, and groovy beats backed by Syd’s smooth vocals. It is hard to listen to this album and not dance along to it.” (Melissa Palma)

3. Kali Uchis - Isolation

“Colombian singer Kali Uchis’ long-awaited debut album is a high-production value journey into her uniquely sultry, dreamy world of R&B. The songstress’s silky voice pushes boundaries of various genres, from bossa-inspired intro “Body Language” to the Amy Winehouse-esque “Killer,” each track better and more of a banger than the last. Isolation features artists like The Internet guitarist Steve Lacy, British soul success Jorja Smith, and reggaeton icon Reykon. Uchis also recruited her friends Tyler, the Creator and legendary bassist Bootsy Collins for the hit single “After the Storm,” a follow-up to her and Tyler’s song “See You Again” from his 2017 album Flower Boy (supported by a stunningly whimsical music video by director Nadia Lee Cohen). The producer credits are just as stacked, including the likes of Thundercat, BROCKHAMPTON’s Romil Hemnani, Tame Impala’s Kevin Parker, and Gorillaz frontman Damon Albarn. Uchis proves herself as the new sound of pop, never veering from her originality that made her a Soundcloud sweetheart.” (Sophie Prettyman-Beauchamp)

4. Janelle Monae - Dirty Computer

“She’s such an intelligent creative weirdo and I LOVE HER. Not to mention her oozing femme POWER.” (Naseem Eskandari)

“About the moxie I mentioned earlier, this emotional rollercoaster has an abudnace of it and I cannot get enough! Cover to cover this album packs a punch, and as the visual companion--which brought me to tears--would suggest, this entire album is a celebration of deviant bodies and identities. This album contains the perfect ratio of soft and tender tracks and upbeat exciting ones so its no wonder why NPR named Dirty Computer their number one of 2018.” (Thorson Munoz)

5. Anderson .paak - Oxnard

“Sometimes artists, after huge successes, feel that they need to make music that sounds just like their previous work to gain the same traction, but really the true artists are the ones that stay honest and true to their creative ability - their sound moves through life with them.” (Naseem Eskandari)

“Anderson .Paak, to me, is responsible for every playlist I've ever built that revolves around driving in Los Angeles with the windows down, no matter the time of day. However, I don't drive a convertible, so instead I honored Venice and Malibu using my radio program, Detours. Not only am I excited to honor Oxnard as well, but Oxnard was built for driving; this is evident after listening to "Tints", the first release, and "Headlow". This album, just like Malibu, is masterful; the only difference is that Dr. Dre stepped out of the shadows and was a feature. Oxnard is beyond incredible and worthy of it's legendary features, Snoop Dog, Q-Tip, and Kadhja Bonet, to name a few. I'm really excited for what will likely be Anderson .Paak's next Grammy nomination.” (Thorson Munoz)

6. Blood Orange - Negro Swan

“AMAZING production, amazing narrative!!!!!!!” (Angel Cortez)

“Dev Hynes never fails to make master pieces of albums that narrate the experience of marginalized people in an oppressive and toxic environment. Hynes brings together artists as big as ASAP Rocky to smaller artists of equal talent such as Steve Lacey creating a beautiful medley of indie hip hop to soul and funk.  Coupled with interviews, Hynes is able to make this album a personal experience for the listener. For me it always feels as though he is singing to me personally, something that not many artists are able to do.” (Kelsey Villacorte)

7. Kevin Krauter - Toss Up

“Toss Up has to be my personal #1 favorite album of 2018 by Kevin Krauter who began making music apart from lo-fi dream pop band Hoops in 2015. Toss Up was released this past summer and was the perfect album to listen to during warm summer nights and has carried through to the end of the year as a comforting reminder of those warm times during these cold nights. It has that dreamy, nostalgic feeling, something that you would listen to as you’re reflecting on the tender moments of your life. Krauter mixes vaporwave-esque sounds with sweet ballads with no one song sounding like the other.” (Kelsey Villacorte)

8. MGMT - Little Dark Age

“MGMT's come-back album is focused, synthy, and fresh. Without abandoning the dark undertones present in their older albums, this album reflects the band's personal growth and resonates with fans, old and new. Tracks like TSLAMP and Little dark Age are some of my favorites!” (Angelica Sheen)

“MGMT has maintained their status as an alternative staple and has since transformed their sound into something more experimental since their debut album Oracular Spectacular. MGMT did not disappoint and gave us an album that went from the weird wii-fit/dystopian vibes of She Works Out To Much to 80s dance of Me and Michael to another sweet ballad titled Hand It Over which is super reminiscent of the ending/title song of their second album Congratulations. MGMT never fails to write well thought out lyrics that all almost feel like their own story. All in all, they did not disappoint and this is exactly the kind of MGMT album I was hoping for after a 5 year hiatus.” (Kelsey Villacorte)

9. Ian Sweet - Crush Crusher

“Jilian Medford refines IAN SWEET’s sound and practices self-care on sophomore album Crush Crusher, her most intimate release yet. Medford rediscovers her identity as she considers how much of herself she has forgotten while preoccupying herself with being a guardian to others (she warbles “The sun built me to shade everybody” on “Holographic Jesus”). Ever poetic while satisfyingly straightforward, she notes that “It’s been too long since I let myself cry about something that wasn’t even sad” on the pummeling single “Spit.” She coos, squeaks, and screams in perfect, dissonant harmony over her guitar’s cathartically melancholic reverb. IAN SWEET remains a perfect contradiction that only grows sweeter.” (Sophie Prettyman-Beauchamp)

10. Parquet Courts - Wide Awake!

“This band's genius shows through with every new release. Wide Awake throws all of their influences together and expels energetic funk beats with poignant, dark, and brutal lyrics that are especially political. The juxtaposition of these themes with upbeat and optimistic instrumentals speaks to their compositional talent, making it a fan favorite. AND THEY USE COWBELLS.” (Angelica Sheen)

Honorable Mentions:

Glenn Crytzer Orchestra, "Ain't it Grand?"

This album couldn't have been better aimed at me if the band had come and asked me what I wanted to hear.  A modern swing-style orchestra performing both classic tunes from the 1930s and modern pieces written in the big band style.  The ensemble playing is tight, the solos just exactly right, and the production quality a lot sharper than any of the original Duke Ellington recordings.  Top notch stuff. (Michael Payne)

The Vaccines - Combat Sports

"The Vaccines brought back the spirit and energy of their debut album but with a new twist when they released their 4th album early in 2018. Get pumped up with the "I Can't Quit" and "Nightclub" or settle down with  "Maybe (The Luck of the Draw)" or "Young American". The Vaccines perfectly embody the sound and snark of the '70s and '80s artists of which their influenced while still creating a modern feel of the 2010's. My personal favorite off the album "Out on the Street" definitely a treat live! Over all Combat Sports is an excellent album and what we needed in 2018." (Stacey Brizuela)

Cobra Man - Toxic Planet

“Los Angeles local duo Cobra Man blows it out of the water with their sophomore album that carries the heart and groove of something you'd hear out of '84. It is indeed one of the best albums of the year because it utilizes one of the most underrated instruments in the game, the saxophone.” (Spartacus Avina)

Nu Guinea "Nu Guinea"

Heaven & Earth by Kamasi Washington is an album that’s loud and bold in both sound and vocals. A lot of the album often creates an ethereal effect with the heavy instrumentals ascending into a grand peak, most notably heard on “Street Fighter Mas”. The vocals on the album accompany the instrumentals in their same form, loud and climaxing. Listening to this album is like a rollercoaster with its thrilling jazz sounds. (Melissa Palma)

Drug Church - Cheer

Mac Miller - Swimming

“The tragic beauty of this album speaks for itself. Mac was such a raw and very real individual and it reflects in his music the way that many others cannot replicate. May he rest in peace - I hope the next life will be better for him.” (Naseem Eskandari)

Thank you to all the amazing DJs who submitted their Top 10 list of 2018! I am super glad to have been part of an amazing and diverse radio station for this past year and this is only a small piece of what our DJs music tastes are like here. I hope everyone has an incredible and safe New Years Eve and a happy 2019 :)

-Kelsey Villacorte (Music Director)

#kuciFM #top 10 lists #top 10 albums #college radio #mitski #kevin krauter #parquet courts #the internet #Anderson .Paak #kali uchis #janelle monae #mgmt #ian sweet #blood orange

[the-stemetery714]

I want to talk about Kanye West for a minute.

When I was a pre teen and a teenager, I obsessively watched MTV, VH1 and BET. I grew up listening to my much older siblings play Tupac and Biggie in the car. I loved hip hop from the get go. I watched Rap City every afternoon after school. I looked forward to Freestyle Fridays on 106&Park and was always so amazed by rhyme schemes, language, cadence and the sheer musical intellect involved to mesh that all together. I knew every single word to “99 Problems” (my favorite hip hop song of all time to this day) when I was far too young to be rapping along. I remember watching that video and yelling, “you crazy for this one, Rick!” from my parents’ couch.

With that being said, I don’t think I ever loved anything as much as I did when Kanye first appeared in the mainstream scene. “Slow Jamz” and “Through the Wire” came out around the same time. I remember watching those videos and being obsessed. “Through the Wire” was such a kickass video to me. I was 13 or 14 at the time and I loved the fact that this dude paid out of pocket to make the video. I loved that he recorded it with his mouth wired shut. I loved the scene where the music stopped and it showed footage of the Jay Z concert where Jay told him he had a deal. Kanye had a story back then. I loved it. I was inspired by it. I LOVED his production....the sped up soul beats, the corny (but witty) bars....I just absolutely loved this guy. I saved my lunch money and bought the clean version of The College Dropout (so my mom wouldn’t find the CD and throw it out). This was back in the days of the Walkman. In other words, you could catch me any given day on the school bus playing The College Dropout on repeat. You can still catch me streaming that album because it’s a fucking classic. He quickly, and without competition, became my favorite rapper.

That continued for years. Every single album, man. All classics. Even the ones I didn’t love at first, like 808s and Yeezus. They all had so much to offer. Kanye is a musical genius and I basically worshipped him in a musical sense. I loved his relationship with Jay Z (Watch the Throne is a top 10 hip hop album. Fight me). I loved that Kanye said whatever the hell he felt like. Back in the day, it wasn’t so abrasive....in the way it is now, at least. He made sense sometimes. A lot of the time, in my opinion. I was a child when he got on TV and said, “George Bush doesn’t care about black people.” Dude, what a moment. Balls of steel. I looked up to him so much for being authentic; all the while, he continued to produce DOPE ASS MUSIC. My Beautiful Dark Twisted Fantasy is my favorite album of all time by anyone. Once that album (and the short film to go along with it) was created, it was cemented that he could do no wrong in my eyes.

Well, the cement started to crumble a few years ago. This comes after I saw him twice in concert (both nights being 2 of the best nights of my life, hands down). The interviews started to get a little weird (HOW SWAY?!). He started to ramble. Some of it was tolerable. At least he still seemed like he had it together at times. I thought to myself, “he’s just passionate. I’m the same way.”

But Ye, we are not the same way, man. You let me down. Besides making trash music with mumble rappers with lines like, “I’m a sick fuck, I like a quick fuck”, I absolutely cannot believe what he has become. It’s not even that he’s a Trump supporter. It’s what he’s using his platform to say. I can’t watch my childhood hero sit in the Oval Office and suggest black people are Democrats because they want welfare. I can’t watch this guy pretend to be a pioneer of education but not know what STEM stands for. I can’t listen to him, with the White House press snapping photos every half a second, spew ignorant comments about black on black crime, when he has every opportunity in the world to talk about the root of that issue, rather than the result.

Listen, I admire that he wants to give back to the community of Chicago. I admire that he is venturing outside of music to do other things. I also don’t care about his arrogance (I never have) in reference to most things. But I do care about fucking ignorance.

I’ve stood by this dude for basically 15 years now. I defended him through the Taylor Swift drama (both times), the Jimmy Kimmel shit, the issues with the paparazzi, the Kardashian nonsense, the Grammys....everything. But not anymore. The truth is Ye is going through a manic episode right now and reaching a level of braggadocio that far exceeds anything he’s ever touched before. You lost me at “slavery is a choice”, bro.

Someone print my Kanye opinion piece in your magazine.

#personal #text post #kanye west #ye #hip hop #donald trump